
♦ 
.0^ 






A? 'TV 















■*/ "^V^^V^ \;^^'V* V*^P*>^ 





VI' r} 









V^<=>' 



^^-v. 





















.9' 

S 


















- .0'^ 












\ 



» 



'A 



Plate I. 

From "Sylva Sylvarum," 1627. 




Plate I. 

From " Sylva Sylvarum," 1627. 



BACON 



IS 



SHAKE-SPEARE 



BY 



Sir EDWIN DURNING-LAWRENCE, Bart. 

B.A., LL.B., ETC. 



" Every hollow Idol is dethroned by skill, 
insinuation and regular approach." 



ZoQCtbet witb a IReprlnt of 

Bacon's Promus of Formularies and Elegancies 

Collated, with the Original MS. by the late F. B. BICKLEY, 
and revised by F. A. HERBERT, of the British Museum. 



THE JOHN McBRIDE CO. 

NEW YORK 

1910 



Shgtrisrpgnrinn 






Copyright, 1910, by 
The John McBride Co. 



©CI.A2'3141 




TO THE READER. 



The plays known as Shakespeare's are at the present 
time universally acknowledged to be the " Greatest 
birth of time," the grandest production of the human 
mind. Their author also is generally recognised as 
the greatest genius of all the ages. The more the 
marvellous plays are studied, the more wonderful 
they are seen to be. 

Classical scholars are amazed at the prodigious 
amount of knowledge of classical lore which they 
display. Lawyers declare that their author must 
take rank among the greatest of lawyers, and must 
have been learned not only in the theory of law, but 
also intimately acquainted with its forensic practice. 
In like manner, travellers feel certain that the 
author must have visited the foreign cities and 
countries which he so minutely and graphically 
describes. 

It is true that at a dark period for English 
literature certain critics denied the possibility of 
Bohemia being accurately described as by the sea. 



VI. To THE Reader. 

and pointed out the "manifest absurdity" of speaking 
of the "port" at Milan; but a wider knowledge of 
the actual facts have vindicated the author at the 
expense of his unfortunate critics. It is the same 
with respect to other matters referred to in the 
plays. The expert possessing special knowledge 
of any subject invariably discovers that the plays 
shew that their author was well acquainted with 
almost all that was known at the time about that 
particular subject. 

And the knowledge is so extensive and so varied 
that it is not too much to say that there is not a 
single living man capable of perceiving half of the 
learning involved in the production of the plays. 
One of the greatest students of law publicly declared, 
while he was editor of the Lazv Times, that although 
he thought that he knew something of law, yet he 
was not ashamed to confess that he had not sufficient 
legal knowledge or mental capacity to enable him 
to fully comprehend a quarter of the law contained 
in the plays. 

Of course, men of small learning, who know 
very little of classics and still less of law, do not 
experience any of these difficulties, because they are 
not able to perceive how great is the vast store of 
learning exhibited in the plays. 

There is also shewn in the plays the most 



To THE Reader. vii. 

perfect knowledge of Court etiquette, and of the 
manners and the methods of the greatest in the land, 
a knowledge which none but a courtier moving 
in the highest circles could by any possibility have 
acquired. 

In his diary, Wolfe Tone records that the 
French soldiers who invaded Ireland behaved exactly 
like the French soldiers are described as conducting 
themselves at Agincourt in the play of " Henry V," 
and he exclaims, "It is marvellous!" (Wolfe Tone 
also adds that Shakespeare could never have seen a 
French soldier, but we know that Bacon while in 
Paris had had considerable experience of them.) 

The mighty author of the immortal plays was 
ofifted with the most brilliant orenius ever conferred 
upon man. He possessed an intimate and accurate 
acquaintance, which could not have been artificially 
acquired, with all the intricacies and mysteries of 
Court life. He had by study obtained nearly all the 
learning that could be gained from books. And he 
had by travel and experience acquired a knowledge 
of cities and of men that has never been surpassed. 

Who was in existence at that period who could 
by any possibility be supposed to be this universal 
genius? In the days of Queen Elizabeth, for the 
first time in human history, one such man appeared, 
the man who is described as the marvel and mystery 



viii. To THE Reader 

of the age, and this was the man known to us under 
the name of Francis Bacon. 

In answer to the demand for a "mechanical 
proof that Bacon is Shakespeare" I have added a 
chapter shewing the meaning of " Honorificabih- 
tudinitatibus," and I have in Chapter XI V^ shewn 
how completely the documents recently discovered by 
Dr. Wallace confirm the statements which I had 
made in the previous chapters. • 

I have also annexed a reprint of Bacon's 
" Promus," which has recently been collated with the 
original manuscript. "Promus" signifies Storehouse, 
and the collection of " Fourmes and Elegancyes" 
stored therein was largely used by Bacon in the 
Shakespeare plays, in his own acknowledged works, 
and also in some other works for which he was 
mainly responsible. 

I trust that students will derive considerable 
pleasure and profit from examining the "Promus" 
and from comparing the words and phrases, as they 
are there preserved, with the very greatly extended 
form in which many of them finally appeared. 

Edwin Durning-Lawrence. 




CONTENTS. 



Chapter. 
I. 

II. 

III. 

IV. 



V. 

VI. 

VII. 

VIII. 

IX. 

X. 

XI. 



XII. 
XIII, 
XIV. 

XV. 



Preliminary ....... 

The Shackspere Monument, Bust, and Portrait . 
The [so-calledj " Signatures " .... 

Contemporary allusions to Shackspere in " Every 
Man out of his Humour"; and "As you 
Like it " . 
Further contemporary allusions in "The return 

from Pernassus " ; and " Ratsei's Ghost " 
Shackspere's Correspondence .... 

Bacon acknowledged to be a Poet 
The Author revealed in the Sonnets . 
Mr. Sidney Lee, and the Stratford Bust 
The meaning of the word " Honorificabilitudini- 
tatibus" ....••• 

On page 136 of the Shakespeare Folio of 1623, 
being a portion of the play " Loves labour's 
lost," and its connection with Gustavi Seleni 
" Cryptomenytices" . . . . • 

The " Householder of Stratford" 
Conclusion, with further evidences from Title Pages 
Postscriptum ..•.••• 

Appendix ....••• 

Introduction to Bacon's " Promus" 

Reprint of Bacon's "Promus" .... 



Page. 
I 

6 
35 



40 

47 
51 
55 
69 

74 

84 



103 

134 
144 
161 

177 
187 

193 



LIST OF ILLUSTRATIONS. 



Plate. 

I. Frontispiece. Portrait of Francis Bacon, from his '* Sylva 
Sylvarum," 1627. 

II. Page xvi., Portrait of Francis Bacon, by Van Somer. 
Engraved by W. C. Edwards. 

III. Page 8. The original "Shakespeare" Monument in 

Stratford Parish Church, a facsimile from Dugdale's 
" History of Warwickshire," published in 1656. 

IV. Page 9. The Shakespeare Monument as it appears at 

the present time. 
V. Page 14. The original Bust, enlarged from Plate III. 
VI. Page 15. The present Bust, enlarged from Plate IV. 
VII. Page 17. Reduced facsimile of the title page of the first 
folio edition of "Mr. William Shakespeare's" plays, 
published in 1623. 

VIII. Page 20-21. Facsimile, full size, of the original portrait 
[so-called] of "Shakespeare" from the 1623 Folio. 

IX. Page 24. Verses ascribed to Ben Jonson, facing the title 
page which is shewn in Plate VII. 

X. Page 26. The back of the left arm, which does duty for 
the right arm of the figure, shewn on Plates VII. 
and VIII. 

XI. Page 27. The front of the left arm of the figure, shewn 
on Plates VII. and VIII. 

XII. Page 32. The [mask] head from the [so-called] portrait 
by Droeshout in the 1623 Folio. 

XIII. Page 2>2>- Portrait of Sir Nicholas Bacon. By Zucchero. 

XIV. Page 36. The five [so-called] " Shakespeare " Signatures. 

[The sixth is shewn in Plate XXXVIII., Page 164]. 

XV. Page 41, Francis Bacon's Crest, from the binding of 
a presentation copy of his " Novum Organum," 
published in 1620. 



List of Illustrations. 



XI. 



Plate. 

XVI. Page 57. Facsimile of the title page of "The Great 
Assises holden in Parnassus." 

XVII.-XVIII. Page 58-9. Facsimiles of pages iii. and iv. of 

the same. 

XIX. Page 77. The original " Shakespeare " Monument in 

Stratford Parish Church, a facsimile from Rowe's 

"Life and Works of Shakespeare," Vol. i, 1709. 

XX. Page 86. Reduced facsimile of page 136 of the first 

folio edition of the plays, 1623. 
XXI. Page 87. Full size facsimile of a portion of the same 
page 136 of the first folio edition of the plays, 1623. 
XXII. Page 105. Full size facsimile of page F4 of "Loves 
labor's lost," first quarto edition, published in 1598. 

XXIII. Page 107. Facsimile of a portion of a contemporary 

copy of a letter by Francis Bacon, dated 1595. 

XXIV. Page 108. Facsimiles from page 255 of Gustavi Selenf 

" Cryptomenytices et Cryptographiae," published in 
1624. 
XXV. Page 109. Facsimile from page 202b of "Traicte des 
chiffres ou secretes manieres d'escrire," par Blaise 
de Vigenere, published in 1585. 
XXVI. Page 113. Ornamental Heading, from William 

Camden's " Remains," published in 1616. 
XXVII. Page 1 1 5. Reduced facsimile of the title page of Gustavi 
Seleni " Cryptomenytices et Cryptographiae," pub- 
lished in 1624. 
XXVIII.- Pages 1 18-123. Various portions of Plate XXVII. 
XXXI. enlarged. 
XXXII. Page 127. Scene from "The Merry Wives of 
Windsor," from a painting by Thomas Stothard. 

XXXIII. Page 131. Facsimile of the title page of Bacon's " De 

Augmentis Scientiarum," published in 1645. 
XXXIV. Page 149. Facsimile of the title page of " New Atlantis, 
begun by Lord Verulam and continued by R. H., 
Esquire," published in 1660. 



xii. List of Illustrations. 

Plate. 

XXXV. Page 153. Facsimile of the title page of Bacon's 
" Historia Regni Henrici Septem," published in 1642. 

XXXVI. Page '56. Nemesis, from Alciati's "Emblems," 
published in i 531. 

XXXVII. Page 157. Nemesis, from Baudoin's "Emblems," 
published in 1638. 

XXXVIII. -IX. Pages 164-65. Portion of the MSS. mentioning 
Shakespeare, discovered by Dr. Wallace. 

XL. Page 169. Facsimiles of three examples of law 
clerks' writing of the name "Shakespeare." 

XLI. Page 176. Facsimile of the Dedication of "The 
Attourney's Academy." 1630. 

XLII. Pages 190-1. Facsimile of portion of Folio 85 of 
the original MS. of Bacon's " Promus." 

XLIII. Page ig2. Portrait of Francis Bacon, from painting 
by Van Somer, formerly in the collection of the 
Duke of Fife. 

The Ornamental Headings of the various Chapters are mostly 
variations of the "Double A" ornament found in certain Shakespeare 
Quarto Plays, and in various other books published circa 1 590-1650. 

A few references will be found below : — 

Tit'e Page, and To the Reader. 

Shakespeare's Works. 1623. 

Contents. Page ix. 

North's " Lives." 1595. 

Spenser's " Faerie Queene." 1609, 161 1. 

Works of King James. 1616. 

Purchas' " Pilgrimages." 1617. 

Bacon's " Novum Organum." 1620. 

Seneca's Works. 1620. 

Speed's "Great Britaine." 1623. 

Bacon's " Operum Moralium." 1638. 



List of Illustrations. xiii. 

Page I. Heading of Chapter I. 

" Contention of Yorke and Lancaster," Part I. 1594. 

" Romeo and Juliet." 1 599. 

"Henry V." 1598, 1600. 

"Sir John Falstaffe." 1602. 

"Richard III." 1602. 

" Regimen Sanitatis Salerni." 1597. 

Page 6. Heading of Chapter II. 

Hardy's " Le Theatre," vol. 4. 1626. 
Barclay's "Argenis." 2 vols. 1625-26. 
Aleman's " Le Gueux." 1632. 

Page 35. Heading of Chapter III. 

Mayer's "Praxis Theologica." 1629. 
Ben Jonson's Works, Vol 2. 1640. 

Page 40. Heading of Chapter IV. 

"The Shepheard's Calendar." 161 7. 
" The Rogue," 1622 
Barclay's " Argenis." 1636. 
Bacon's "Remaines." 1648. 
"The Mirrour ot State." 1656. 

Page 47. Heading to Chapter V. 

Preston's " Breast-plate of Faith." 1630. 

Page 51. Heading to Chapter VI. 

" Venus and Adonis." 1593. 

"Unnatural conspiracie of Scottish Papists." 1593- 
" Nosce te ipsium." 1602. 
The ornament reversed is found in • 

Spenser's " Faerie Queene." 1596. 
" Historie of Tamerlane." 1597. 
Barckley's " Felicitie of Man." 1598. 

Page 55. Heading to Chapter VII. 

James I. " Essayes of a Prentise in the Art of Poesie." 

1584, 1585- _ 
De Loque's "Single Combat." 1591. 
"Taming of a Shrew." 1594- 
Hartwell's " Warres." 1595. 
Heywood's Works. 1598. 
Hayward's "Of the Union." 1604. 



xiv. List of Illustrations. 

Page 55 (continued ). 

Cervantes' "Don Quixote." 1612. 
Peacham's " Compleat Gentleman." 1622. 

Page 69. Heading of Chapter VIII. 
"Richard 11." 1597. 
"Richard III." 1597. 
"HenrielV." 1600. 
"Hamlet." 1603. 
Shakespeare's " Sonnets." 1609. 
Matheieu's " Henry IV." [of France.] 1612. 

Page 74. Heading of Chapter IX. 

Hardy's " Le Theatre." 1624. 

Heading of Chapter X. 

Boys' " Exposition of the last Psalme." 161 5. 
Heading of Chapter XI. 

Bacon's " Henry VII." 1629. 

Bacon's "New Atlantis." 1631. 

Printed upside down. 

Camden's " Remains." 1616. 
Heading of Chapter XII. 

Preston's "Life Eternall." 1634. 
Heading of Chapter XIII. 

Barclay's "Argenis." 1636. 
Heading of Chapter XIV. 

Martyn's " Lives of the Kings." 161 5. 

Seneca's Works. 1620. 

Slatyer's "Great Britaine." 1621. 

Bacon's " Resuscitatio," Part II. 1671. 
Page 177. Heading of Chapter XV. 

Gustavi Seleni " Cryptomenytices." 1624. 
Page 187. Introduction to " Promus." 

" King John." 1591. 

Florio's "Second Frutes." 1591- 

De Loque's " Single Combat." 1591. 

Montaigne's " Essais." 1602. 

Cervantes' "Don Quixote," translated by Shelton. 
161 2-20. 
Page 287. Tail Piece from Spenser's " Faerie Queen." 1617. 



Page 


84. 


Page 


103. 


Page 


113- 


Page 


134. 


Page 


144. 


Page 


161. 



Plate II. 

Portrait of Francis Bacon. By Van Somer. 
Engraved by W. C. Edwards. 




Plate II. 

Portrait of Francis Bacon. By Van Somer. 
Engraved by W. C. Edwards. 



Bacon is Shakespeare. 

CHAPTER I. 

" What does it matter whether the immortal works were 
written by Shakespeare (of Stratford) or by another 
man who bore (or assumed) the same name ? " 

Some twenty years ago, when this question was first 
propounded, it was deemed an excellent joke, and I find 
that there still are a great number of persons who 
seem unable to perceive that the question is one of 
considerable importance. 

When the Shakespeare revival came, about eighty 
or ninety years ago, people said " pretty well for 
Shakespeare" and the "learned" men of that period 
were rather ashamed that Shakespeare should be 
deemed to be " the'' English poet. 

"Three poets in three distant ages born, 
■' Greece, Italy and England did adorn, 

" The force of Nature could no further go, 
"To make a third she joined the other two," 

Dryden did not write these lines in reference to Shake- 
speare but to Milton. Where will you find the person 
who to-day thinks Milton comes within any measurable 
distance of the orreatest tjenius among- the sons of 
earth who was called by the name of Shakespeare? 



2 Bacon is Shakespeare, 

Ninety- two years ago, viz. : in June 1818, an 
article appeared in BlackwoocV s Edinbiu^gh Magazine, 
under the heading " Time's Magic Lantern. No. V. 
Dialogue between Lord Bacon and Shakspeare " 
[Shakespeare being spelled Shakspeare]. The dialogue 
speaks of "Lord" Bacon and refers to him as being 
enpfaofed in transcribing- the " Novum Oro-anum " when 
Shakspeare enters with a letter from Her Majesty 
(meaning Queen Elizabeth) asking him, Shakspeare, 
to see "her own" sonnets now in the keeping of her 
Lord Chancellor. 

Of course this is all topsy turvydom, for in Queen 
Elizabeth's reign Bacon was never "Lord" Bacon or 
Lord Chancellor. 

But to continue, Shakspeare tells Bacon " Near 
to Castalia there bubbles also a fountain of petrifying 
water, wherein the muses are wont to dip whatever 
posies have met the approval of Apollo ; so that the 
slender foliage which originally sprung forth in the 
cherishing brain of a true poet becomes hardened in 
all its leaves and glitters as if it were carved out of 
rubies and emeralds. The elements have afterwards 
no power over it." 

Bacon. Such will be the fortune of your own 

productions. 
Shakspeare. Ah my Lord ! Do not encourage me to 
hope so. I am but a poor unlettered man, 
who seizes whatever rude conceits his own 
natural vein supplies him with, upon the 
enforcement of haste and necessity ; and 
therefore I fear that such as are of deeper 



Bacon is Shakespeare, 3 

studies than myself, will find many flaws in 
my handiwork to laugh at both now and 
hereafter. 

Bacon. He that can make the multitude laugh and 
weep as you do Mr. Shakspeare need not 
fear scholars More scholar- 
ship might have sharpened your judgment 
but the particulars whereof a character is 
composed are better assembled by force of 
imagination than of judgment 

Shakspeare. My Lord thus far I know, that the first 
glimpse and conception of a character in 
my mind, is always engendered by chance 
and accident. We shall suppose, for in- 
stance, that I. sitting in a tap-room, or 
standing in a tennis court. The behaviour 

of some one fixes my attention 

Thus comes forth Shallow, and Slender, 
and Mercutio, and Sir Andrew Aguecheek. 

Baco7i. These are characters who may be found alive 
in the streets. But how frame you such 
interlocutors as Brutus and Coriolanus? 

Shakspeare. By searching histories, in the first place, 
my Lord, for the germ. The filling up 
afterwards comes rather from feeling than 
observation. I turn myself into a Brutus 
or a Coriolanus for the time; and can, at 
least in fancy, partake sufficiently of the 
nobleness of their nature, to put proper 
words in their mouths 



4 Bacon is Shakespeare* 

My knowledge of the tongues is but small, 
on which account I have read ancient 
authors mostly at secondhand. I remem- 
ber, when I first came to London, and 
began to be a hanger-on at the theatres, a 
great desire grew in me for more learning 
than had fallen to my share at Stratford ; 
but fickleness and impatience, and the 
bewilderment caused by new objects, dis- 
persed that wish into empty air " 

This ridiculous and most absurd nonsense, which 
appeared in 1818 in Blackivood s Edinburgh Magazine 
was deemed so excellent and so instructive that (slightly 
abridged) it was copied into "Reading lessons for the 
use of public and private schools" by John Pierpont, 
of Boston, U.S.A., which was published in London 
nearly twenty years later, viz., in 1837. 

As I said before, the dialogue is really all 
topsy turvydom, for the writer must have known 
perfectly well that Bacon was not Lord Keeper till 
161 7, the year after Shakspeare's death in 1616, and 
was not made Lord Chancellor till 1618, and that he 
is not supposed to have began to write the " Novum 
Organum " before the death of Queen Elizabeth. 

I have therefore arrived at the conclusion that the 
whole article was really intended to poke fun at the 
generally received notion that the author of the plays 
was an w;dettered man, who picked up his knowledge 
at tavern doors and in taprooms and tennis courts. 
I would specially refer to the passage where Bacon 



Bacon is Shakespeare* 5 

asks " How frame you such interlocutors as Brutus and 
Coriolanus?" and Shakspeare replies "By searching 
histories, in the first place, my Lord, for the germ. 
The filling up afterwards comes rather from feeling 
than observation. I turn myself into a Brutus or a 
Coriolanus for the time and can at least in fancy 
partake sufficiently of the nobleness of their nature to 
put proper words in their mouths." 

Surely this also must have been penned to open 
the eyes of the public to the absurdity of the popular 
conception of the author of the plays as an ////lettered 
man who "had small Latin and less Greek"! 

The highest scholarship not only in this country 
and in Germany but throughout the world has been 
for many years concentrated upon the classical 
characters portrayed in the plays, and the adverse 
criticism of former days has given place to a reveren- 
tial admiration for the marvellous knowledp-e of 
antiquity displayed throughout the plays in the 
presentation of the historical characters of by-o-one 
times; classical authority being found for nearly every 
word put into their mouths. 

What does it matter whether the immortal works 
were written by Shakspeare (of Stratford) or by a 
great and learned man who assumed the name Shake- 
speare to "Shake a lance at Ignorance"? We should 
not forget that this phrase " Shake a lance at Ignor- 
ance" is contemporary, appearing in Ben Jonson's 
panegyric in the Shakespeare folio of 1623. 




CHAPTER 11. 

The Shackspere Monument, 
Bust, and Portrait. 

In the year 1909 Mr. George Hookham in the January 
number of the National Rcviciv sums up practically 
all that is really known of the life of William 
Shakspeare of Stratford as follows: — 

' We only know that he was born at Stratford, of 
'illiterate parents — (we do not know that he went 
'to school there) — that, when i8>^ years old, he 
'married Anne Hathaway (who was eight years 
'his senior, and who bore him a child six months 
' after marriage) ; that he had in all three children 
'by her (whom with their mother he left, and 
' went to London, having apparently done his 
' best to desert her before marriage) ; — that in 
' London he became an actor with an interest in a 
' theatre, and was reputed to be the writer of 
' plays ; — that he purchased property in Stratford, 
'to which town he returned; — engaged in pur- 
' chases and sales and law-suits (of no biographical 
'interest except as indicating his money-making 
'and litigious temperament); helped his father in 
' an application for coat armour (to be obtained 



Plate III. 

The Stratford Monument, from Duguale's Warwickshire, 1656. 




Plate III. 

The Stratford Monument, from Dugdale's Warwickshire, 1656. 




Plate IV. 



The Stratford Monumknt as tt appears 
at the present time. 



Plate IV. 



The Stratford Monument as it appears 
at the present time. 



Bacon is Shakespeare* ii 

' by false pretences) ; promoted the enclosure of 

'common lands at Stratford (after being g-uaran- 

' teed against personal loss); made his will — and 

'died at the age of 52, without a book in his 

' possession, and leaving nothing to his wife but 

' his second best bed, and this by an afterthought. 

' No record of friendship with anyone more 

'cultured than his fellow actors. 

'No letter, — only two contemporary reports of 

' his conversation, one with regard to the commons 

' enclosure as above, and the other in circum- 

' stances not to be recited unnecessarily. 

' In a word we know his parentage, birth, marriage, 

'fatherhood, occupation, his wealth and his chief 

'ambition, his will and his death, and absolutely 

' nothing else ; his death being received with 

' unbroken and ominous silence by the literary 

'world, not even Ben Jonson who seven years 

' later glorified the plays iji exec/sis, expending so 

'much as a quatrain on his memory.' 

To this statement by Mr. George Hookham I 

would add that we know W. Shakspeare was christened 

26th April 1564, that his Will which commences "In 

the name of god Amen ! I Willim Sha^kspeare, of 

Stratford upon Avon, in the countie of warr gent in 

perfect health and memorie, god be praysed," was 

dated 25th (January altered to) March 1616, and it 

was proved 22nd June 16 16, Shakspeare having died 

23rd April 1 6 16, four weeks after the date of the Will. 

We also know that a monument was erected to 



12 Bacon is Shakespeare* 

him in Stratford Church. And because L. Digges, 
in his Hues in the Shakespeare foHo of 1623 says 
"When Time dissolves thy Stratford Moniment,""^ it is 
supposed that the monument must have been put up 
before 1623. But we should remember that as Mrs. 
Stopes (who is by no means a Baconian) pointed out 
in the Alonthly Review of April 1904, the original 
monument was not like the present monument which 
shews a man with a pen in his hand; but was the very 
different monument which will be found depicted in 
Sir William Dugdale's "Antiquities of Warwickshire." 
published in 1656. The bust taken from this is shewn 
on Plate 5, Page 14, and the whole monument on 
Plate 3, Page 8. 

The figure bears no resemblance to the usually 
accepted likeness of Shakspeare. It hugs a sack of 
wool, or a pocket of hops to its belly and does not hold 
a pen in its hand. 

In Plate 6, Page 15, is shewn the bust from the 
monument as it exists at the present time, with the 
great pen in the right hand and a sheet of paper under 
the left hand. The whole monument is shewn on 
Plate 4, Page 9. 

The face seems copied from the mask of the 
so-called portrait in the 1623 folio, which is shewn in 
Plate 8. It is desirable to look at that picture very 
carefully, because every student ought to know that the 
portrait in the title-page of the first folio edition of 
the plays published in 1623, which was drawn by Martin 

* Digges really means " When Time dissolves thy Stratford Mask." 



Plate V. 

The Stratfokd Bust, from Dugdale's Warwickshire, 
published 1656. 




Plate V. 

The Stratford Bust, from Dugdale's Warwickshire, 
published 1656. 




Plate VI. 

The Stratford Bust as it appears at the present time. 



Plate VI. 

The Stratford Bust as it appf.ars at the present time. 



]VP. WILLIAM 



SHAKESPEARES 

COMEDIES, 
HISTORIES, and 
TRAGEDIES. 

Publilhed according to the True Onginall Copies. 




Pniitedby Tfaac Iaogard,and Ed. Blount. 1 6iy 
Plate VIL 

Facsimile of Title Page, reduced in size. 



Plate VII. 

Facsimile of the Title Page of the first folio edition 
OF the Shakespeare Plays, 1623. 



Plate VIII. 

Full Size Facsimile of part of the Title Page of the 
1623 Shakespeare Folio. 






O 
to 


• 




rr% 


V) 


H 


u. 


VD 


to 




<u 


»^ 


u, 




cS 




0) 




D- 


• 

4^ 


(/5 


c 

=3 


rt 


O 


C/) 


J*"!:* 


U 


OCQ 


4-> 


r< 


%-( 


^ '-O 


o 


oS 


t5X) 

rt 


'Xj 


Om 


Q § 


1 


«v 


H 




4-> 


o ^ 


B 
o 


i— ^ 


'-4-I 




1> 


^ 


V) 


>— « 


"3 


t>^ 


'-4-I 


^ 




-d 




4iU 


u 

3 


C2 


t3 

o 


• «>4 


L^ 


i^ 


O- 


CL4 


U 

1 




O 




o 




-C 




Ph 



^ > 



Plate VIII. 

Facsimile, Full Size, of the Original Portrait [so-called] of 
"Shakespeare," from the 1623 Folio. 



Bacon is Shakespeare, 23 

Droeshoiit, is cunningly composed of two left arms and 
a mask. Martin Droeshout, its designer, was, as 
Mr. Sidney Lee tells us, but 15 years of age when 
Shakspeare died. He is not likely therefore ever to 
have seen the actor of Stratford, yet this is the 
"Authentic," that is the "Authorised" portrait of 
Shakspeare, although there is no question — there can 
be no possible question — that in fact it is a cunningly 
drawn cryptographic picture, shewing two left arms 
and a mask. 

The back of the left arm which does duty for the 
right arm is shewn in Plate 10, Page 26. Every tailor 
will admit that this is not and cannot be the front of 
the right arm, but is, without possibility of doubt, the 
back of the left arm. 

Plate 1 1 shews the front of the left arm, and you 
at once perceive that you are no longer looking at the 
back of the coat but at the front of the coat. 

Now in Plate 12, Page 32, you see the mask. 
Especially note that the ear is a mask ear and stands 
out curiously ; note also how distinct the line shewing the 
edge of the mask appears. Perhaps the reader will 
perceive this more clearly if he turns the page upside 
down. 

Plate 13, Page 2)2)^ depicts a real face, that of Sir 
Nicholas Bacon, eldest son of the Lord Keeper, from a 
contemporary portrait by Zucchero, la-tely in the Duke 
of Fife's Collection. This shews by contrast the 
difference between the portrait of a living man, and 
the drawing of a lifeless mask with the double line 



24 Bacon is Shakespeare* 

from ear to chin. Again examine Plates 8, Pages 20, 21, 
the complete portrait in the folio. The reader having 
seen the separate portions, will, I trust, be able now to 
perceive that this portrait is correctly characterised as 
cunningly composed of two left arms and a mask. 

While examining this portrait, the reader should 
study the lines that describe it in the Shakespeare 
folio of 1623, a facsimile of which is here inserted. 

To the Reader. 

This Figure, that thou here feeft put, 

It was for gentle Shakefpeare cut ; 
Wherein the Grauer had a ftrife 

with Nature, toout-doothelife : 
O^could he but hauedrawne his wit 

As well in brafle, as he hath hit 
His face . the Print would thenfurpaffe 

All, that was euer writ in brafTe. 
But, fince he cannot. Reader, looke 

Not on his Pidure, but hisBooke. 

Plate IX. B. I. 

Verses ascribed to Ben Jonson, from the 1623 folio edition 
OF Shakespeare's Works. 



Plate X. 

The Back of the Left Arm, from Plate VIII. 




Plate X. 

The Back of the Left Arm, fkom Plate VIII. 




Plate XI. 

The Front of the Left Arm, from Plate VIII. 



Plate XI. 

The Front of the Left Arm, from Plate VIII. 



Bacon is Shakespeare* 29 

"He hath ///V his face" 

It is thought that ///V means /i/d as in Chaucer's 
Squiere's Tale, Hne 512 etc. 

"Right as a serpent /^/V him under floures 
Til he may seen his tyme for to byte" 

If indeed "hit" be intended to be read as "hid" 
then these ten lines are no longer the cryptic puzzle 
which they have hitherto been considered to be, but in 
conjunction with the portrait, they clearly reveal the 
true facts, that the real author is writing left-handedly, 
that means secredy, in shadow, with his face hidden 
behind a mask or pseudonym. 

We should also notice "out-doo" is spelled with 
a hyphen. In the language of to-day and still more in 
that of the time of Shakespeare all, or nearly all, words 
beginning with oii^ may be read reversed, out-bar is 
bar out, out-bud is bud out, out-crop is crop out, out- 
fit is fit out, and so on through the alphabet. 

If therefore we may read "out-doo the life" as 
"doo out the life" meaning "shut out the real face of 
the living man " we perceive that here also we are told 
"that the real face is hidden." 

The description, with the head line "To the 
Reader" and the signature " B. I.," forms twelve lines, 
the words of which can be turned into numerous sig- 
nificant anagrams, etc., to which, however, no allusion 
is made in the present work. But our readers will find 
that if all the letters are counted (the two v.v.'s in line 
nine being counted as four letters) they will amount to 
the number 287. In subsequent chapters a good deal 



so Bacon ts Shakespeare. 

is said about this number, but here we only desire to 
say that we are "informed" that the "Great Author" 
intended to reveal himself 287 years after 1623, the 
date wdien the F"irst Folio was published, that is in the 
present year, 19 10, when very numerous tongues will 
be loosened. 

Examine once more the original Stratford Bust, 
Plate 5, Page 14, and the present Stratford Bust, Plate 
6, Page 15, ec'///^ //le large peji in the right hand. 

If the Stratford actor were indeed the author of 
the plays it was most appropriate that he should have 
a pen in his hand. But in the original monument as 
shewn in Plate 3, Page 8, the figure hugs a sack of wool 
or a pocket of hops or may be a cushion. P^or about 
1 20 years, this continued to be the Stratford effigy and 
shewed nothing that could in any way connect the 
man portrayed, with literary work. I believe that this 
was not accidental. I think that everybody in Stratford 
must have known that William " Sha^kspeare" could 
not write so much as his own name, for I assert that 
we possess nothing which can by any reasonable possi- 
bility be deemed to be his signature. 



Plate XII. 

The [Mask] Head, from the [so-called] Portrait, by 
Droeshout, in the 1623 Folio. 




Plate XII. 

The [Mask] Head, from the [so-called] Portrait, by 
Droeshgut, in the 1623 Folio. 




Plate XIII. 

Sir Nicholas Bacon, from the Painting by Zucchero. 



Plate XIII. 

Sir Nicholas Bacon, from the Painting by Zucchero. 



CHAPTER III. 

The so-called '^ Signatures." 

In Plate 14, Page 36, are shewn the five so-called 
signatures. These five being the only pieces of writing 
in the world that can, even by the most ardent 
Stratfordians, be supposed to have been written by 
Shakspeare's pen ; let us consider them carefully. 
The Will commences "In the name of God Amen I 
Willim Shackspeare." It is written upon three 
sheets of paper and each sheet bears a supposed 
signature. The Will is dated in Latin " Vicesimo 
quinto die [januarij] Mtij Anno Regni Dni nri Jacobi, 
nunc R Anglie, &c. decimo quarto & Scotie xlix" annoq 
Dni 1616", or shortly in English 25th March 1616. 

Shakspeare died 23rd April 161 6 just four weeks 
after publishing his will. 

I say after "PUBLISHING his Will" advisedly, 
for such is the attestation, viz., " Witnes to the pub- 
lyshing hereof, 

"Fra: Colly ns 

Julius Shawe 

John Robinson 

Hamnet Sadler 

Robert Whattcott " 



3^ 



Bacon is Shakespeare. 



Nothing- is said about the witnessing- of the signing- 
hereof. The Will might therefore have been, and I 
myself am perfectly certain that it was, marked with 
the name of William Shakspeare by the Solicitor, 
Fra (ncis) Colly ns, who wrote the body of the Will. 




iV ^^rr^f 



t^ 



y'^'^y^\^ 






lyfucC^^Miy ^^l^f^"^^ 










VP^{^i^c^fl\^ 



Plate XIV. 

The Five so-called " Shakespeare Signatures." 

He also wrote the names of the other witnesses, which 
are all in the same hand-writing as the Will; shewing 
that Shakspeare's witnesses were also unable to write 
their names. 



Bacon is Shakespeare* 2)7 

This fact, that Shakspeare's name is written by 
the sohcitor, is conckisively proved by the recent 
article of Magdalene Thumm-Kintzel in the Leipzig 
magazine, Dcr AFcnscJicnkcnncr, which was published 
in January 1909. 

In this publication, photo reproductions of certain 
letters in the body of the Will, and in the so-called 
Shakspeare signatures are placed side by side, and the 
evidence is irresistible that they are written by the 
same hand. Moreover when we remember that the 
Will commences "I Willim Sha c kspeare" with a 
"c" between the "a" and"k," the idea that Shak- 
speare himself wrote his own Will cannot be deemed 
worthy of serious consideration. The whole Will 
is in fact in the handwriting of Francis Collyns, 
the Warwick solicitor, who added the attestation 
clause. 

I myself was sure that the solicitor had added the 
so-called signatures, when, many years ago, I examined 
under the strongest magnifying glasses the W^ill at 
Somerset House. 

Look first at the upper writings and never again 
call them "signatures." The top one is on the first 
page of the Will, the second on the second page, the 
third on the last page of the Will. 

The original of the top one has been very much 
damaged Init the "W" remains quite clear. Look 
first only at the "W's". If the writings were signa- 
tures what could induce a man when signing his last 
Will to make each "W" as different from the others 



38 Bacon is Shakespeare* 

as possible, and why is the second Christian name 
written Willm? 

Compare also the second and third "Shakspeare" 
and note that every letter is formed in a different 
manner. Compare the two "S's", next compare the 
two "h's", the "h" of the second beo-ins at the 
bottom, the "h" of the third begins at the top, the 
same applies to the next letter the "a", so also with 
respect to the "k's"; how widely different these are. 

Plate 14 shews at the bottom two other names 
also. These are taken, the one on the left from a 
deed of purchase of a dwelling house in Blackfriars 
dated March loth 161 2-1 3 (now in the City Library 
of the Corporation of London); the other on the right 
is from a mortgage of the same property executed on 
the following day, viz: March iith 1612-13, which is 
now in the British Museum. 

Neither of these documents states that it was 
"signed" but only says that it was "sealed," and it was 
at that date in no way necessary that any signatures 
should be written over the seals, but the clerks might and 
evidently did, place upon these deeds an abbreviated 
name of William Shakspeare over the seal on each 
document. In the case of the other two parties to the 
documents, the signatures are most beautifully written 
and are almost absolutely identical in the two deeds. 

Look at these two supposititious signatures. To 
myself it is difBcult to imagine that anyone with eyes 
to see could suppose them to be signatures by the 
same hand. 



Bacon is Shakespeare* 39 

Some years ago by the courtesy of the Corporation 
of London, the Librarian and the Chairman of the 
Library Committee carried the Purchase Deed to the 
British Museum to place it side by side with the 
Mortgage Deed there. 

After they had with myself and the Museum 
Authorities most carefully examined the two deeds, the 
Librarian of the City Corporation said to me, there is 
no reason to suppose that the Corporation deed has 
upon it the signature of \Vm. Shakespeare, and the 
British Museum Authorities likewise told me that they 
did not think that the Museum Morteaee Deed had 
upon it a signature of William Shakespeare. 

The more you examine the whole five the more 
you will be certain, as the writer is, after the most careful 
study of the Will and of the Deeds, that not one of 
the five writings is a "signature," or pretends to be a 
"signature," and that therefore there is a probability, 
practically amounting to a certainty, that the Stratford 
Actor could not so much as manage to scrawl his own 
name. 

No! W^e possess not a scrap of writing, not even 
an attempt at a signature,* that can be reasonably 
supposed to be written by the Stratford gcntlcuiau. 

He is styled "gentle Shakespeare": this does not 
refer to anything relating to his character or to his 
manners but it means that possessing a coat of arms 
he was legally entitled to call himself a "gentleman." 

* See also Chapter XIV., p. i6i. 



CHAPTER IV. 

Contemporary Allusions to 
Shackspere. 

Shakspeare the Actor purchased New Place at 
Stratford-on-Avon in 1597 for ^60 and he became a 
"gentleman" and an esquire when he secured a grant 
of arms in 1599. 

How did the stage "honour" the player who had 
bought a coat of arms and was able to call himself a 
" gentleman "? 

Three contemporary plays give us scenes illustrat- 
ing the incident: 

1st. Ben jonson's " Every man out of his 
hu.aour" which was acted in 1599 the very year of 
Shakspeare's grant of arms. 

2nd. Shakespeare's "As you like it" which was 
entered at Stationers' Hall in 1600, although no copy is 
known to exist before the folio of 1623. 

3rd. "The Return from Pernassus" which was 
acted at St. John's College, Cambridge in 1601, though 
not printed till 1606. 

In addition to these three plays, there is a fourth 
evidence of the way in which the Clown who had 
purchased a coat of arms was regarded, in a pamphlet 



Bacon is Shakespeare, 



41 



or tract of which only one copy is known to exist. 
This tract which can be seen in the Rylands Library, 
Manchester, used to be in Lord Spencer's hbrary at 
Althorp, and is reprinted by Halhwell-Philhpps in 
" Oudines of the Life of Shakespeare," 1889, Vol. i, 
pages 325-6. 







Plate XV. 

Bacon's Crest from the Binding of a Presentation Copy of 

THE Novum Organum, 1620. 

To commence with Ben Jonson's " Kvery man 
out of his humour." The clown who had purchased a 
coat of arms is said to be the brother of Sordido (a 
miser), and is described as an "essential" clown (that 
is an uneducated rustic), and is styled Sogliardo which 
is the Italian for the filthiest possible name. 



42 



Bacon is Shakespeare* 



Sog. 



The other two characters in the scene (act iii. 
sc. i) are Puntarvolo who, as his crest is a Boa?', must 
be intended to represent Bacon ;* and Carlo Buffone 
who is a buffoon or jester. 

Enter Soghardo (the filth), who is evidently the 
Stratford Clown, who has just purchased a coat of 
arms : — 

Actus Tertius, Scena Prima, 
Sogliardo, Punt., Carlo. 
Nay I will haue him, I am resolute for that, 
by this Parchment Gentlemen, I haue ben 
so toil'd among the Harrots [meaning 
Heralds\ yonder, you wall not beleeue, they 
doe speake i' the straungest language, and 
giue a man the hardest termes for his money, 
that euer you knew. 
But ha' you armes? ha' your armes? 
Yfaith, I thanke God I can write myselfe 
Gentleman now, here's my Pattent, it cost 
me thirtie pound by this breath. 
Puiit. A very faire Coat, well charg'd and full of 

Armorie. 
Sog. Nay, it has as much varietie of colours in it, 
as you haue seene a Coat haue, how like you 
the Crest, Sir? 
Punt. I vnderstand it not well, what is 't? 



Sog. 



* Through the whole play the fact that Puntarvolo represents Bacon is 
continually apparent to the instructed reader. Note especially Act II., Scene 3, 
where Puntarvolo addresses his wife, who appears at a window, in a parody of 
the address of Romeo to Juliet. Again in Act II., Scene 3, Carlo Buffone calls 
Puntarvolo "A yeoman pheuterer." Pheuter or feuter means a rest or support 
for a spear — which is informing. 



Bacon is Shakespeare* 43 

Soj^. Marry Sir, it is your Bore without a head 
Rampant. 

Punt. A Bore without a head, that 's very rare. 

Car. I, [Aye] and Rampant too: troth I commend 
the Herald's wit, he has deciphered him well: 
A Swine without a head, without braine, wit, 
anything indeed, Ramping to Gentilitie. You 
can blazon the rest signior? can you not? 



Punt. Let the word be, N^ot zuithoiit mustard, your 
Crest is very rare sir. 
Shakspeare's "word" that is his "motto" was — non 
sanz droict — not without right — and I desire the reader 
also especially to remember Sogliardo's words " Yfaith 
I thanke God" a phrase which though it appears in 
the c^uartos is changed in the 161 6 Ben Jonson 
folio into "I thank thcni'' which has no meaning. 

Next we turn to Shakespeare's "As you like it." 
This play, though entered at Stationers' Hall in 1600 
and probably played quite as early, is not known in 
print till it appeared in the folio of 1623. The portion 
to which I wish to refer is the commencement of Actus 
Ouintus, Scena Prima. 

Act 5-, Scene i. 
Enter Clowne and Awdrie. 
C/o2i'. W'e shall finde a time Aivdric, patience gentle 

Awdrie. 
Awd. Faith the priest was good enough, for all the 
olde gentlemans saying. 



44 Bacon is Shakespeare* 

Clow. A most wicked Sir Oliver, Awdric, a most vile 

Mai^-tcxt. But Azvdrie, there is a youth heere 

in the forrest layes claime to you. 
Aivd. I, I know who 'tis: he hath no interest in mee 

in the world : here comes the man you meane. 
(Enter William) 
Clo. It is meat and drinke to me to see a clowne, 

by my troth, we that haue good wits, haue 

much to answer for: we shall be flouting: we 

cannot hold. 
Will. Good eu'n Audi'ey. 
Azvd. God ye good eu'n William. 
Will. And good eu'n to you sir. 
Clo. Good eu'n gentle friend. Couer thy head, 

couer thy head: Nay prethee bee couer'd. 

How olde are you Friend ? 
Will Fine and twentie Sir. 
Clo. A ripe age: Is thy name William f 
Will. William, Sir. 
Clo. A faire name. Was't borne i' the Forrest 

heere ? 
Will. I [Aye] Sir, I thanke God. 
Clo. Thanke God: A good answer: Art rich? 
Will. 'Faith Sir, so, so. 
Clo. So, so, is good, very good, very excellent 

good: and yet it is not, it is but so, so: Art 

thou wise? 
Will. I [Aye] sir, I haue a prettie wit. 
Clo. Why, thou saist well. I do now remember 

a saying: The Foole doth thinke he is wise. 



Bacon is Shakespeare, 45 

l)ut the wise man knowes himselfe to be a 
Foole You do loue this maid?* 

Win. I do Sir. 

C/o. Giue me your hand: art thou Learned? 

Wi/I. No Sir. 

do. Then learne this of me, To haue is to haue. 
For it is a figure in Rhetoricke, that drink 
being powr'd out of a cup into a glasse, by 
fining the one, doth empty the other. F"or all 
your Writers do consent, that ipse is hee : 
now you are not ipse, for I am he. 

Win. Which he Sir? 

C/o. He Sir, that must marrie this woman. 

Firstly I want to call your attention to Touchstone 
the courtier who is playing clown and who we are 
told "uses his folly like a stalking horse and under 
the presentation of that he shoots his wit." Notice 
that Touchstone refuses to be married to Awdrey 
(who probably represents the plays of Shakespeare) 
by a Mar-icxf, and she declares that the Clown 
William "has no interest in mee in the world." 
William — shall we say Shakspeare of Stratford? — 
enters and is greeted as "gentle" [i.e. he is possessed 
of a coat of arms). He says "Thank God" he was 
born in the forest here (Ardennes, very near in sound to 
Arde.i)*. "Thank God" is repeated by Touchstone 
and as it is the same phrase that is used by Sogliardo 
in Ben Jonson's play I expect that it was an ejaculation 
very characteristic of the real man of Stratford and I 

* There was a forest of Arden in Warwickshire. 



46 Bacon is Shakespeare* 

am confirmed in this belief because in the foHo edition 
of Ben Jonson's plays the phrase is changed to 
"I thank thcni'' which has no meaning. 

The clown of Ardennes is rich but only rich for 
a clown (Shakspeare of Stratford was not really rich, 
New Place cost only ^60). 

Asked if he is wise, he says "aye," that is "yes," 
and adds that he has "a pretty wit," a phrase we 
must remember that is constantly used in reference 
to the Stratford actor. Touchstone mocks him with a 
paraphrase of the well-known maxim " If you are wise 
you are a Foole if you be a Foole you are wise" which 
is to be found in Bacon's "Advancement of Learning" 
Antitheta xxxi. Then he asks him ''Art thou 
learned'' and William replies ''No sir.'' This means, 
unqiicstioiiably, as every lawyer must know, that 
William replies that he cannot read one line of print. 
I feel sure the man called Sha^kspeare of Stratford 
was an uneducated rustic, never able to read a single 
line of print, and that this is the reason why no books 
were found in his house, this is the reason why his 
solicitor, Thomas Greene, lived with him in his house 
at New Place (Halliwell-Phillipps: Outlines, 1889, 
Vol. I, p. 226); — a well-known fact that very much 
puzzles those who do not realize the depth of 
Shakspeare's illiteracy. 



CHAPTER V. 



''The Return from Pernassus" 
and ''Ratsei's Ghost." 



The next play to which attention must be called is 
"The Return from Pernassus" which was produced 
at Cambridge in 1601 and was printed in 1606 with 
the following title page : — 

The Returne from Pernassus 

or 

The Scourge of Simony. 

Publiquely acted by the Students 

in Saint Johns Colledge in 

Cambridge. 

At London 

Printed by G. Eld for John Wright, and 

are to bee sold at his shop at 

Christchurch Gate. 

1606. 

The portion to which I wish to direct attention 
is : — 

Actus 5, Scena i. 

Stiidioso. Fayre fell good Orpheus, that would 
rather be 



48 Bacon is Shakespeare. 

King" of a mole hill, then a Keysars slaiie: 
Better it is mongst fidlers to be chiefe, 
Then at plaiers trencher beg- reliefe. 
But ist not strange this mimick apes 

should prize 
Vnhappy Schollers at a hireling rate. 
Vile world, that lifts them vp to hye degree, 
And treades vs downe in groueling misery. 
England affordes those glorious vagabonds, 
That carried earst their fardels on their 

backes, 
Coursers to ride on throuu^h the ufazine 

streetes 
Sooping it in their glaring Satten sutes, 
And Pages to attend their maisterships: 
With mouthing words that better wits 

haue framed, 
They purchase lands, and now Esquiers 
are made. 
Philoinusus. What ere they seeme being euen at the 
best 
They are but sporting fortunes scornfitll 
iests. 
Can these last two lines refer to Shakspeare the 
actor seeming to be the poet ? Note that they are 
spoken by Philomusus that is friend of the poetic 
muse. Mark also the words "this mimick apes." 
Notice especially "with mouthing words that better 
wits haue framed, they purchase lands and now 
Esquiers are made" i.e. get grants of arms. Who at 



Bacon is Shakespeare, 49 

this period amon_<^ mimics exccptinj^- W. Shakspeare of 
Stratford purchased lands and obtained also a grant 
of arms ? 

That this sneer "mouthing- words that better wits 
have framed" must have been aimed at Shakspeare is 
strongly confirmed by the tract (reprinted by Halliwell- 
Phillipps in his "Outlines of Shakespeare," 1889, Vol. i, 
p. 325) which is called " Ratsei's Ghost or the second 
part of his mad prankes and Robberies." 

This pamphlet bears no date, but was entered at 
Stationers' Hall May 31st 1605. There is only a 
single copy in existence, which used to be in Earl 
Spencer's library at Althorp but is now in the Rylands 
Library at Manchester. As I said, it is reprinted by 
Halliwell-Phillipps, and Stratfordians are obliged to 
agree with him that the reference is unquestionably 
to " Wm Shakespeare of Stratford." The most im- 
portant part which is spoken by Ratsei the robber 
to a country player is as follows : — 

Ra/sci. And for you sirra, sales hee to the chiefest 
of them, thou hast a good presence upon a 
stage; methinks thou darkenst thy merite 
by playing in the country. Get thee to 
London, for if one man were dead, they will 
have much neede of such a one as thou art. 
There would be none in ni)' opinion fitter 
then thyselfe to pla)- his parts. My conceipt 
is such of thee, that I durst venture all the 
mony in ni)- purse on th)- head to play 
Hamlet with him for a wager. There thou 

E 



50 Baccn is Shakespeare* 

shalt learn to be frugall, — for players were 

never so thriftie as they are now about 

London — and to feed upon all men, to let 

none feede upon thee ; to make thy hand a 

stranger to thy pocket, thy hart slow to 

performe thy tongues promise, and when 

thou feelest thy purse well lined, buy thee 

some place of lordship in the country, that, 

growing weary of playing, thy mony may 

there bring thee to dignitie and reputation; 

then thou needest care for no man, nor not 

for them that before made thee prowd 

with speaking their words upon the stage. 

The whole account of buying a place in the 

country, of feeding upon all men (that is lending money 

upon usury) of never keeping promises, of never giving 

anything in charity, agrees but too well with the few 

records we possess of the man of Stratford. And 

therefore Stratfordians are obliged to accept Halliwell- 

Phillipps' dictum that this tract called Ratsei's Ghost 

refers to the actor of Stratford and that '" /ic needed 

not to care for them that before made him proud with 

speaking ///<??> words upon the stage." How is it 

possible that Stratfordians can continue to refuse to 

admit that the statement in the "Return from 

Pernassus" "with mouthing words that better wits 

haue framed they purchase lands and now Esquiers 

are made" must also refer to the Stratford Actor .-^ 



CHAPTER VI. 

Shackspere's Correspondence ! 

There Is only a single letter extant addressed to 
Shakspeare, and this asks for a loan of ^30 ! It is 
dated 25th October 1598, and is from Richard 
Quiney.* It reads 

" Loveinge Countreyman I am bolde of yo"^ as of a ffrende, 
" craveinge yo""" helpe w'h xxx" vppon m' Bushells & my 
" securytee or m"" Myttons w'h me. m' Rosswell is nott come 
" to London as yeate & I have especiall cawse. yo"' shall 
"ffrende me m'jclie in helpeinge me out of all the debettes I 
" owe in London I thancke god & muche quiet my mynde w^h 
" wolde nott be indebeted I am nowe towardes the Cowrte in 
" hope of answer for the dispatclie of my Buysenes. yo™ shall 
" nether loase creddytt nor monney by me the Lorde wyllinge 
"and nowe butt perswade yo"^' selfe soe as I hope & yo''' shall 
"nott need to feare butt w'h all hartie thanckefullenes I wyll 
"holde my tyme & content yo'^'' ffrende & yf we Bargaine 
"farther yo''' shalbe the paie m' yo""'"" selfe. my tyme biddes me 
" hasten to an ende & soe I committ thys [to] yo"' care & hope 
" of yo"' helpe. I feare I shall nott be backe thys night ffrom 
" the Cowrte. haste, the Lorde be w'h yo'" & with us all amen 
"ffrom the Bell in Carter Lane the 25 October 1598. 
KyQwrs jj^ gij kyndenes 

" Rye. Quyney 
{aiMressi-d) 

"To my Loveinge good ffrend 
" & contreymann m' w'" 

" Shackespere d [e] 1 [ive] r thees." 

*'rhis Richard Quyney's son Thomas married loth February l6i6, Judith, 
William Shakespeare's younger daughter, who, like her father, the supposed poet, 
was totally illiterate, and signed the Register with a mark. 




52 Bacon is Shakespeare* 

This letter is the only letter known to exist which 
was ever addressed to William Shackspere, the illiter- 
ate householder of Stratford, who as has been pointed 
out in these pages was totally unable to read a line of 
print, or to write even his own name. There are however 
in existence three, and three only, contemporary letters 
referring in any way to him, and these are not about 
literature with which the Stratford man had nothing 
whatever to do — but about mean and sordid small 
business transactions 

One is from Master Abraham Sturley, who writes 
in 1598 to a friend in London in reference to Shaks- 
peare lending " Some monei on some od yarde land or 
other att Shottri or neare about us." 

Another is dated Nov. 4th 1598, and is from the 
same Abraham Sturley to Richard Quiney in which 
we are told that "our countriman Mr Wm Shak 
would procure us monei wc I will like of." 

A third from Adrian Quiney written (about 1598- 
1599) to his son Rycharde Quiney in which he says 
"yff yow bargen with Wm Sha or receve money ther- 
for, brynge youre money homme." 

There exists no contemporary letter from anyone 
to anyone, referring to the Stratford actor as being a 
poet or as being in any way connected with literature. 
But from the Court Records we learn that; 

In 1600 Shakespeare brought action against 
John Clayton in London for ^7 and got judgment in 
his favour. He also sued Philip Rogers of Stratford 
for two shillings loaned. 



Bacon is Shakespeare, 53 

In 1604 he sued Philip Rogers for several bushels 
of malt sold to him at various times between March 
27th and the end of May of that year, amounting in 
all to the value of ^i. 15s. lod. The poet a dealer in 
malt? 

In 1608 he prosecuted John Addenbroke to 
recover a debt of £6 and sued his surety Horneby. 

Halliwell-Phillipps tells us that "The precepts as 
appears from memoranda in the originals, were issued 
by the poet's solicitor Thomas Greene who was then 
residing under some unknown conditions'^ at New 
Place" 

Referrino^ to these sordid stories, Richard Grant 
White, that strong believer in the Stratford man, 
says in his " Life and genius of William Shakespeare," 
p. 156 "The pursuit of an impoverished man for the 
sake of imprisoning him and depriving him both of the 
power of paying his debts and supporting himself and his 
family, is an incident in Shakespeare's life which it re- 
quires the utmost allowance and consideration for the 
practice of the time and country to enable us to con- 
template with equanimity — satisfaction is impossible." 

"The biographer of Shakespeare must record 
these facts because the literary antiquaries have 
unearthed and brought them forward as new particulars 
of the life of Shakespeare. We hunger and receive 
these husks; we open our mouths for food and we 
break our teeth ag-ainst these stones." 

* This fact so puzzling to Halliwell-Phillipps is fully explained when it is 
realised that William Shackspere of Stratford could neither read or write. 



54 Bacon is Shakespeare, 

Yes! The world has broken its teeth too long 
upon these stones to continue to mistake them for 
bread. And as the accomplished scholar and poetess 
the late Miss Anna Swanwick once declared to the 
writer, she knew nothing of the Bacon and Shake- 
speare controversy, but Mr. Sidney Lee's " Life of 
Shakespeare" had convinced her that his man never 
wrote the plays. And that is just what everybody else 
is saying at Eton, at Oxford, at Cambridge, in the 
Navy, in the Army, and pretty generally among un- 
prejudiced people everywhere, who are satisfied, as 
is Mark Twain, that the most learned of works could 
not have been written by the most ////learned of men. 

Yes! It does matter that the "Greatest Birth 
of Time " should no lono^er be considered to have 
been the work of the unlettered rustic of Stratford; 
and the hour has at last come when it should be 
universally known that this mighty work was written 
by the man who had taken all knowledge for his 
province, the man who said "I have, though in a 
despised weed [that is under a Pseudonym] procured 
the good of all men"; the man who left his "name 
and memory- to men's charitable speeches, and to 
foreign nations, and the next ages." 




CHAPTER VII. 

Bacon acknowledged to be 
a Poet. 

In discussing the question of the Authorship of 
the plays many people appear to be unaware that 
Bacon was considered by his contemporaries to be a 
great poet. It seems therefore advisable to quote a 
few witnesses who speak of his pre-eminence in poetry. 

In 1645 there was published "The Great Assises 
holden in Parnassus by Apollo and his assessours " a 
facsimile of the title of which is given on page 57. 
This work is anonymous but is usually ascribed to 
George Withers and in it Bacon as Lord Verulan is 
placed first and designated "Chancellor of Parnassus" 
that is "Greatest of Poets." 

After the title, the book commences with two 
pages of which facsimiles are given on pages 58, 59. 

Apollo appears at the top, next comes Lord 
Verulan as Chancellor of Parnassus, Sir Philip 
Sidney and other world renowned names follow and 
then below the line side by side is a list of the jurors 
and a list of the malefactors. 

A little examination will teach us that the jurors 
are really the same persons as the malefactors and 



56 Bacon is Shakespeare, 

that we ought to read right across the page as if the 
dividing Hue did not exist. 

Acting on this principle we perceive that George 
Wither [Withers] is correctly described as Mercurius 
Britanicus. Mr. Sidney Lee tells us that Withers 
regarded "Britain's Remembrancer" 1628 and " Pro- 
sopopaeia Britannica" 1648 as his greatest works. 

Thomas Gary [Carew] is correctly described as 
Mercurias Aulicus — Gourt Messenger. He went to 
the French Gourt with Lord Herbert and was made 
Gentleman of the Privy Ghamber by Gharles I who 
presented him with an estate at Sunninghill. 

Thomas May is correctly described as Mercurius 
Givicus. He applied for the post of Chronologer to 
the Gity of London and fames I wrote to the Lord 
Mayor (unsuccessfully) in his favour. 

josuah Sylvester is correctly described as The 
Writer of Diurnals. He translated Du Bartas "Divine 
Weekes," describing day by day, that is " Diurnally," 
the creation of the world. 

Georges Sandes [Sandys] is The Intelligencer. He 
travelled all over the world and his book of travels 
was one of the popular works of the period. 

Michael Drayton is The Writer of Occurrences. 
Besides the " Poly-Olbion" he wrote "England's 
Heroicall Epistles" and "The Barron's Wars." 

Francis Beaumont is The Writer of Passages. 
This exactly describes him as he is known as writing in 
conjunction with Fletcher. " Beamount and Fletcher 
make one poet, they single dare not adventure on a 
play." 



THE '^l 

GREAT ASSISES! 

Holdeti mPARNASSVS 

B Y 











AND 



HIS ASSESSOVRS: 

At which Seffions are Arraigned 




^ Mercurius Brumicm, 
^i 'MCYCur'iMS Aulkus^ 
*^ Mercurius Civk-HS, 
^j The Scout. 
%* The write'/ of Vkirmlls, 
@§ The Intcllio-encer, 



The writer of occurrences. 

Thervriter ofPajfages, 

The Pofi, 

The Spye, 

The writer oftveekly Accotmts. 

The Scott i]}) Dove.d^c. 



j"^^ ' — 



^ 



ifi >.Jo i2> 



f^ LONDON, 

%!? 'Px'mtQdby RickrrdCoteSj for Edvjard Hs^bAnds.^2\\d^\:Qlo 

^ be fold at his Shop in the Middle Temi.de ^ 164), 



1 



Plate XVI. 



Facsimile Title Page. 




The Lord V E R V L A N, 
ChxfKcllof cf Pan^/affiss. 

^^'* P H I L I p Sidney, 
High Confta^ls of Par, 

W ILLIAM BVDEVS, 

High Treajurer, 
John P1CVS5 Earle 

of Mu'andula , High 

Chamberlaine, 
JvLivs Cesar 

ScALlGER 



Erasmus RoterOdam. 
Justus Lil> sills 
John Barcklay 
John Bodine 
Adrian Tvrnebvs 
Isaac CasavbOn 
John Selden 
HvGO GrotIvs 
Daniel Heinsivs 
Conradvs Vossivs 
Augustine Mascardus 



e JuroKrs, 

George Whhcr 
Thomas Gary 
Thomas Md'j 
IVilliam DAvrmnt 
Tfo(uah Sylvifier 
Georges Sandes 
<iSfiichdel Vrajton 
Francis Beatimont 
J^ohn Fletcher 
Thorns Hajrvood 
William SbaLefpecre 
fhilif Mdfsinger. 



The MalefaSiours, 

Mercurifi^ Britantcus 
Mercurias Anlicus 
Mcrcuriti^ Givicus 
The Scout 

The writer of Binrnds 
The Intelligencer 
The ivriter cf Occurrences 
The ivriter of Parages 
The Pofle 
TheSjiye 

. Thswriter of tveekely AccQmts 
1 ThcScottiffi Dove^&c, 

A 2 J 0' 

Plate XVII. 

Facsimile of Page III of "The Great Assises." 



S E » H ScALIGErJ 

the Cenfoiir of man- 1 
nQt$in Pmmfff^s, j 

IEdMVND bPENCEB., 

»EN. JoHNsoi^, Kee-| Clerk of the Ailires. 
per of the Trophonian j 



[OHH Taylovr, Ciy- 
a of the Coiiit, 



_ I „,' ,,., .-.^rJ- ■'-^- "T^J-'".'!!' "UJiii«l!- ' J.-LJ>J!i!llJJ g 't . "-W-lf '- ' 'i 



^zai ' . T t Vl! ; ^ -"^ - 



THE 



Plate XVIII. 

Facsimile of Page IV of "The Great Assises." 



Plate XVIII. 

Facsimile of Page IV. of "The Great Assises. 



Bacon is Shakespeare* 6i 

William Shakespeere is "The writer of weekely 
accounts." This exactly describes him, for the only 
literature for which he was responsible was the 
accounts sent out by his clerk or attorney. 

Turning over the pages of the little book on 
page 9 the cryer calls out "Then Sylvester, Sands, 
Drayton, Beaumont, F'letcher, Massinger, Shakespeare 
(sic) and Heywood, Poets good and true." This 
statement seems to be contradicted so far as Shakes- 
peare is concerned by the defendant who says on 
page 31 " Shakespear's (sic) a mimicke" (that is a 
mere actor not a poet). 

" Beamount and Fletcher make one poet, they 
Single, dare not adventure on a play." 
Each of these statements seems to be true. And on 
page 2,T, Apollo* says 

"We should to thy exception give consent 
But since we are assur'd, 'tis thy intent, 
By this refusall, onely to deferre 
That censure, which our justice must conferre 
Upon thy merits ; we must needs decline 
From approbation of these pleas of thine." 
That is, Apollo admits that Shakespeare is not a 
poet but a " mimic," the word to wdiich I called your 
attention in the "Return from Pernassus" in relation 
to "this mimick apes." In this little book Shake- 
speare's name occurs three times, and on each occasion 
is spelled differently. 

* The words attributed to Apollo, are of course spoken by his Chancellor 
Bacon. See note on the number t,^ on page 112. 



62 Bacon is Shakespeare » 

This clear statement that the actor Shakespeare 
was not a poet but only a tradesman who sent out his 
"weekly accounts" is, I think, here for the first time 
pointed out. It seems very difficult to conceive of 
a much higher testimony to Bacon's pre-eminence in 
poetry than the fact that he is placed as " Chancellor of 
Parnassus" under Apollo. But a still higher position 
is accorded to him when it is suggested that Apollo 
feared that he himself should lose his crown which 
would be placed on Bacon's head. 

Walter Begbie in "Is it Shakespeare?" 1903, 
p. 274, tells us: — That Thomas Randolf, in Latin 
verses published in 1640 but probably written some 14 
years earlier says that Phcebus was accessory to 
Bacon's death because he was afraid lest Bacon 
shoidd some day come to be crowned King of poetry 
or the Muses. Farther on the same writer declares 
that as Bacon "was himself a singer" he did not need 
to be celebrated in song by others, and that George 
Herbert calls Bacon the colleague of Sol [Phoebus 
Apollo]. 

George Herbert was himself a dramatic poet and 
Bacon dedicated his "Translation of the Psalms" to 
him "who has overlooked so many of my works." 

Mr. Begbie also tells us that Thomas Campion 
addresses Bacon thus "Whether the thorny volume 
of the Law or the Schools or the Sweet Muse allure 
thee." 

It may be worth while here to quote the similar 
testimony which is borne by John Davies of Hereford 



Bacon is Shakespeare* 63 

who in his " Scoiiro-e of Folly" published about 1610, 
writes 

"To the royall, ingenious, and all-learned 
Knight, — 

Sr Francis Bacon. 

Thy bounty and the Beauty of thy Witt 
Comprisd in Lists of Laio and learned Arts, 
Each making thee for great luiploymcnt fitt 
Which now thou hast, (though short of thy 

deserts) 
Compells my pen to let fall shining Ink£ 
And to bedew the Bales that deck thy Front; 
And to thy health in Helicon to drinke 
As to her Bellaniour the Muse is wont: 
For thou dost her embozom ; and dost vse 
Her company for sport twixt grave affaires; 
So vtterst Law the liuelyer through thy A/use. 
And for that all thy Notes are sweetest Aires; 
My Muse tJnis notes thy worth. In eii ry Line, 
With yncke whleJi thus she sugers ; so, to shlnel' 

But nothing can much exceed in value the testi- 
mony of Ben Jonson who in his "Discoveries," 1641, 
says " But his learned, and able (though unfortunate) 
Successor [Bacon in margin] is he, who hath fill'd up 
all numbers, and perform'd that in our tongue, which 
may be compar'd or preferr'd either to insolent Greece, 
or haughty Romey 



64 Bacon is Shakespeare, 

"He who hath filled up all numbers"* means 
imquestionabl)- " He that hath written every kind of 
poetry." 

Alexander Pope the poet declares that he himself 
"lisped in numbers for the numbers came." Ben 
fonson therefore bears testimony to the fact that 
Bacon was so great a poet that he had in poetry 
written that "which may be compar'd or preferr'd 
either to insolent Greece or haughty Roiue." 

But in 1623 Ben Jonson had said of the AUTHOR 
of the plays 

" Oj' lu/ien thy sockes ueir on 
Lea lie tJiec alone, for the comparison 
Of all, that insolent Greece or haugJitie Rome 
Sent forth, or since did from their ashes come!'' 

Surely the statements in the "Discoveries" were 



* While I am perfectly satisfied that the above explanation of the meaning 
of the expression "All numbers" is the correct one; I am not unaware that at 
the date at which the Discoveries appeared "All numbers " would be generally 
understood in its classical sense; Jonson of course not being permitted to speak 
too plainly. He was foreman of Bacon's good pens and one of his " left-hands "; 
as any visitor to Westminster Abbey may learn, the attendants there being 
careful to point out that the sculptor has "accidentally" clothed Jonson's 
Bust in a left-handed coat. (With respect to the meaning of this the reader is 
referred to I'late t,t„ page 131) Thus far was written and in print when the 
writer's attention was called to the Rev. George () Neill's little brochure, 
"Could Bacon have written the plays?" in which in a note to page 14 we find 
"Numeri" in Latin, "numbers" in English, applied to literature mean nothing 
else than verse, and even seem to exclude prose Thus Tibullus writes, 
^' Ainitcris i lie /lic fede libera scri/iit {one writes in verse another in prose), and 
Shakespeare has the same antithesis in "Love's Labour Lost" (iv., 3), "These 
numbers I will tear and write in prose." ^'et all this does not settle the matter, 
for "Numeri" is also used in the sense merely of "parts" Pliny speaks of a 
prose work as perfect in all its parts, " Omnibus mtiiieris absoliiliis," and Cicero 
says of a plan c,f life, " Oiiines niimeros virtutis contiuct " (it contains every element 
of virtue). So that Jonson may have merely meant to say in slightly pedantic 
phrase that Bacon had passed away all parts fulfilled. 



Bacon is Shakespeare* 65 

intended to tell us who was the AUTHOR of the 
plays. 

After perusing these contemporary evidences, and 
they might be multiplied,* it is difficult to understand how 
anyone can venture to dispute Bacon's position as pre- 
eminent in poetry. But it may be of interest to those 
who doubt whether Bacon (irrespective of any claim to 
the authorship of the plays) could be deemed to be a 
great poet, to quote here the words of Percy Bysshe 
Shelley, who in his " Defence of Poetry " says 

" Bacon was a poet. His language has a sweet and 
majestic rhythm, which satisfies the sense, no less than 
the almost superhuman wisdom of his philosophy satis- 
fies the intellect. It is a strain which distends and then 
bursts the circumference of the reader's mind, and pours 
itself forth together with it into the universal element 
with which it has perpetual sympathy." 

The immortal plays are the " Greatest Birth 
of Time," and contain a short summary of the wisdom 
of the world from ancient times, and they exhibit an 
extent and depth of knowledge in every branch which 
has never been equalled at any period of the world's 
history. In classic lore, as the late Mr. Churton 
Collins recently pointed out, they evince the ripest 
scholarship. And this is confirmed by classical scholars 
all the world over. 

None but the profoundest lawyers can realise the 
extent of the knowledge not only of the theory but of 

* In 161 5, although nothing of poetical importance bearing Bacon's name had 
been published, we find in Stowe's " Annales," p. 8ii, that Bacon's name appears 
seventh in the list there given of Elizabethan poets. 

F 



66 Bacon is Shakespeare* 

the practice of Law which is displayed. Lord Camp- 
bell says that Lord Eldon [supposed to have been the 
most learned of judges] need not have been ashamed 
of the law of Shakespeare, And as an instance of the 
way in which the members of the legal profession 
look up to the mighty author I may mention that 
some years ago, at a banquet of a Shakespeare 
Society at which Mr. Sidney Lee and the writer were 
present, the late Mr. Crump, Q.C., editor of the 
Law Times, who probably possessed as much know- 
ledge of law as any man in this country, declared that 
to tell him that the plays were not written by the 
greatest lawyer the world has ever seen, or ever would 
see, was to tell him what he had sufficient knowledge of 
law to know to be nonsense. He said also that he was 
not ashamed to confess that he himself, though he had 
some reputation for knowledge of law, did not possess 
sufficient legal knowledge to realise one quarter of the 
law that was contained in the Shakespeare plays. 

It requires a philologist to fully appreciate what 
the enormous vocabulary employed in the plays implies. 

Max Miiller in his " Science of Language," Vol. i, 

1899. P- 379. says 

"A well-educated person in England, who has 
been at a public school and at the University . . . 
seldom uses more than about 3,000 or 4,000 words. 
. . . The Hebrew Testament says all that it has to 
say with 5,642 words, Milton's poetry is built up with 
8,000 ; and Shakespeare, who probably displayed a 
greater variety of expression than any writer in any 



Bacon is Shakespeare* 67 

language . . . produced all his plays with about 15,000 
words." 

Shakspeare the householder of Stratford could 
not have known so many as one thousand words. 

But Bacon declared that we must make our 
English language capable of conveying the highest 
thoughts, and by the plays he has very largely created 
what we now call the English language. The plays 
and the sonnets also reveal their author's life. 

In the play of " Hamlet " especially, Bacon seems 
to tell us a good deal concerning himself, for the auto- 
biographical character of that play is clearly apparent 
to those who have eyes to see. I will, however, refer 
only to a single instance in that play. In the Quarto 
of 1603, which is the first known edition of the play of 
" Hamlet," we are told, in the scene at the grave, that 
Yorick has been dead a dozen years; but in the 1604 
Quarto, which was printed in the following year, Yorick 
is stated to have been dead twenty -three years. This 
corrected number, twenty-three, looks therefore like a 
real date of the death of a real person. The words in 
the Quarto of 1604 are as follows: — 

Hamlet, Act v, Scene i. 
" [Grave digger called.] Clow [n] . . . heer's a scull 
" now hath lyen you i' th' earth 23 yeeres . . . this '. 
" same scull, sir, was, sir, Yorick" s skull, the Kings / 
" jester . . . 

" Ham \lct\. Alas poore Yoricke, I knew him 
" Horatio, a fellow of infinite iest, of most excellent 
" fancie, hee hath bore me on his backe a thousand 



68 Bacon is Shakespeare* 

" times . . . Heere hung those lyppes that I haue 
" kist, I know not howe oft, where be your gibes now ? 
" your gamboles, your songs, your flashes of merriment, 
" that were wont to set the table on a roare, not one 
" now to mocke your owne grinning . . ." 

The King's Jester who died about 1 580-1, just 
twenty-three years before 1604 (as stated in the play), 
was John Heywood, the last of the King's Jesters. 
The words spoken by Hamlet exactly describe John 
Heywood, who was wont to set the table in a roar with 
his jibes, his gambols, his songs, and his flashes of merri- 
ment. He was a favourite at the English Court during 
three if not four reigns, and it is recorded that Queen 
Elizabeth as a Princess rewarded him. It is an 
absolutely gratuitous assumption that he was obliged 
permanently to leave England when she became Queen. 
Indeed it is believed that he was an intimate friend of 
the Bacon family, and must have carried little Francis 
Bacon any number of times upon his back, and the 
little fellow must have kissed him still more often- 
times. The story in the play of " Hamlet " seems, 
therefore, to fit in exactly with the facts of Bacon's 
life ; but it is not possible that the most fertile 
imapfination of the most confirmed Stratfordian can 
suppose that the Stratford actor ever saw John 
Heywood, who died long before Shakspere came to 
London. 




CHAPTER VIII. 

The Author revealed in the 
Sonnets. 

Bacon also reveals much of himself in the play 
"As you like it," which of course means "Wisdom 
from the mouth of a fool." In that play, besides giving 
us much valuable information concerning his "mask" 
William Shakespeare, he also tells us why it was 
necessary for him to write under a pseudonym. 

Speaking in the character of Jaques, who is 
the alter ego of Touchstone, he says, 
Act ii. Scene 7. 
" O that I were a foole, 
I am ambitious for a motley coat. 
Duke. Thou shalt haue one. 
Jaq. It is my onely suite, 

Prouided that you weed your better iudgements 
Of all opinion that growes ranke in them. 
That I am wise. I must haue liberty 
Wiithall, as large a Charter as the winde, 
To blow on whom I please, for so fooles haue: 
And they that are most gauled with my folly. 

They most must laugh 

Inuest me in my motley: Giue me leaue 



70 Bacon is Shakespeare* 

To speake my minde, and I will through and 

through 
Cleanse the foule bodie of th' infected world 
If they will patiently receiue my medicine." 

He also gives us most valuable information in 
Sonnet 8i, 

Or I shall Hue your Epitaph to make, 
Or you suruiue when I in earth am rotten, 
From hence your memory death cannot take, 
Although in me each part will be forgotten, 
Your name from hence immortall life shall haue, 
Though I (once gone) to all the world must dye, 
The Earth can yeeld me but a common graue, 
When you intombed in men's eyes shall lye. 
Your monument shall be my gentle verse, 
Which eyes not yet created shall ore read, 
And toungs to be, your being shall rehearse. 
When all the breathers of this world are dead. 
You still shall liue (such vertue hath my Pen) 
Where breath most breaths euen in the mouths 
of men. 

Stratfordians tell us that the above is written in 
reference to a poet whom Shakespeare "evidently" 
regarded as a rival. But it is difficult to imagine how 
sensible men can satisfy their reason with such an 
explanation. Is it possible to conceive that a poet 
should write against a rival 

" Your name from hence immortall life shall haue 
Though I (once gone) to all the world must dye " 



Bacon is Shakespeare* 71 

or should say against a rival, 

"The Earth can yeeld me but a common graue 
While you intombed in men's eyes shall lye." 

or should have declared "■against a rivaV,' 

"Your monument shall be my gentle verse" 

No! This sonnet is evidently written in reference 
to the writer's mask or pseudonym which would con- 
tinue to have immortal life (even though he himself 
might be forgotten) as he says 

"Although in me each part will be forgotten," 

It is sometimes said that Shakespeare (meaning 
the Stratford actor) did not know the value of his 
immortal works. Is that true of the writer of this 
sonnet who says 

"my gentle verse 
Which eyes not yet created shall ore read" 

No! The writer knew his verses were immortal and 
would immortalize the pseudonym attached to them 

"When all the breathers of this world are dead." 

Perhaps the reader will better understand Sonnet 81 
if I insert the words necessary to fully explain it. 

Or shall I [Bacon] live your Epitaph to make, 
Or you [Shakespeare] survive when I in Earth 

am rotten, 
From hence your memory death cannot take. 
Although in me each part will be forgotten. 
Your name [Shakespeare] from hence immortal 

life shall have, 



72 Bacon is Shakespeare* 

Though I [Bacon] once gone to all the world 

must die, 
The earth can yield me but a common grave, 
When you entombed in men's eyes shall lie, 
Your monument shall be my [not your] gentle 

verse, 
Which eyes not yet created shall ore read, 
And tongues to be your being [which as an author 

was not] shall rehearse, 
When all the breathers of this world are dead. 
You [Shakespeare] still shall live, such vertue 
hath my pen [not your own pen, for you never 
wrote a line] 
Where breathe most breaths even in the mouths 
of men. 
This Sonnet was probably written considerably earlier 
than 1609, but at that date Bacon's name had not 
been attached to any work of great literary importance. 
After the writer had learned the true meaning 
of Sonnet 81, his eyes were opened to the inward 
meaning of other Sonnets, and he perceived that 
Sonnet No, 76 repeated the same tale. 

"Why write I still all one, euer the same, 
And keep inuention in a noted w^eed, 
That euery word doth almost sel my name, 
Shewing their birth and where they did proceed ? " 
(Sel may mean spell or tell or possibly betray.) 
Especially note that "Invention" is the same word 
that is used by Bacon in his letter to Sir Tobie 
Matthew of 1609 (same date as the Sonnets), and also 



Bacon is Shakespeare* 'j^ 

especially remark the phrase "in a noted weed," which 
means in a "pseudonym," and compare it with the 
words of Bacon's prayer, " I have (though in a 
'despised weed') procured the good of all men." 
[Resuscitatio, 1671.] Was not the pseudonym of the 
Actor Shakespeare a very "despised weed" in those 
days? 
Let us look also at Sonnet No. 78. 

"So oft have I enuoked thee for my Muse, 
And found such faire assistance in my verse, 
As every a/ien pen hath got my use. 
And under thee their poesy disperse." 

Here again we should understand how to read this 
Sonnet as under: — 

"So oft have I enuoked thee [Shakespeare] for 
my Muse, 

And found such faire assistance in my verse, 

As every a/icn pen hath got my use, 

And under thee [Shakespeare] their poesy disperse." 
"Shakespeare" is frequently charged with being 
careless of his works and indifferent to the piracy of 
his name; but we see by this Sonnet, No, 78, that the 
real author was not indifferent to the false use of his 
pseudonym, though it was, of course, impossible for 
him to take any effectual action if he desired to preserve 
his incognito, his mask, his pseudonym. 




CHAPTER IX. 

Mr. Sidney Lee and the 
Stratford Bust. 

One word to the Stratfordians. The " Shakespeare 
of Stratford-on- Avon " myth has been shattered and 
destroyed by the mass of inexactitudes collected in the 
supposititious "Life of Shakespeare" by Mr. Sidney 
Lee, who has done his best to pulverise what remained 
of that myth by recently writing as follows : — 

"Most of those who have pressed the question [of 
Bacon being the real Shake-speare] on my notice, are 
men of acknowledged intelligence and reputation in 
their own branch of life, both at home and abroad. I 
therefore desire as respectfully, but also as emphatically 
and as publicly, as I can, to put on record the fact, as 
one admitting to my mind of no rational ground for 
dispute, that there exists every manner of contemporary 
evidence to prove that Shakspere, the householder of 
Stratford-on-Avon, wrote with his own hand, and 
exclusively by the light of his only genius (merely to 
paraphrase the contemporary inscription on his tomb 
in Stratford-on-Avon Church) those dramatic works 
which form the supreme achievement in English 
Literature." 

As a matter of fact, not a single scrap of evidence, 



Bacon is Shakespeare* 75 

contemporary or otherwise, exists to show that Shak- 
spere, the householder of Stratford-on-Avon, wrote the 
plays or anything else; indeed, the writer thinks that 
he has conclusively proved that this child of illiterate 
parents and father of an illiterate child was himself 
so illiterate that he was never able to write so much 
as his own name. But Mr. Sidney Lee seems pre- 
pared to accept anything as "contemporary evidence," 
for on pages 276-7 (1898 edition) of his "Life of 
Shakespeare" he writes 

" Before 1623 an elaborate monument, by a London 
sculptor of Dutch birth, Gerard Johnson, was erected 
to Shakespeare's memory in the chancel of the parish 
church. It includes a half-length bust, depicting the 
dramatist on the point of writing. The fingers of the 
right hand are disposed as if holding a pen, and under 
the left hand lies a quarto sheet of paper." 

As a matter of fact, the present Stratford monument 
was not put up till about one hundred and twenty years 
after Shakspeare's death. The original monument, see 
Plate 3 on Page 8, was a very different monument, 
and the figure, as I have shewn in Plate 5, instead of 
holding a pen in its hand, rests its two hands on a 
wool-sack or cushion. Of course, the false bust in 
the existing monument was substituted for the old bust 
for the purpose of fraudulently supporting the Stratford 
myth. 

When Mr. Sidney Lee wrote that the present 
monument was erected before 1623 he did not do this 
consciously to deceive the public; still, it is difficult to 



76 Bacon is Shakespeare* 

pardon him for this and the other reckless statements 
with which his book is filled. But what are we to say 
of his words (respecting the present monument) which 
we read on page 286? "It was first engraved — very 
imperfectly — in Rowe's edition of 1709." i\n exact 
full size photo facsimile reproduction of Rowe's en- 
graving is shown in Plate 19, Page yj. 

As a matter of fact, the real Stratford monument 
of 1623 was first engraved in Dugdale's "Warwickshire" 
of 1656, where it appears opposite to page 523. We 
can, however, pardon Mr. Sidney Lee for his ignorance 
of the existence of that engraving; but how shall we 
pardon him for citing Rowe as a witness to the early 
existence of the present bust? To anyone not wilfully 
blinded by passion and prejudice, Rowe's engraving 
[see Plate 19, Page yj^ clearly shews a figure absolutely 
different from the Bust in the present monument. 
Rowe's figure is in the same attitude as the Bust 
of the original monument engraved by Dugdale, and 
does not hold a pen in its hand, but its two hands 
are supported on a wool-sack or cushion, in the same 
manner as in the Bust from Dugdale which I have 
shewn in Plate 5, on Page 14. 

What are we to say respecting the frontispiece to 
the 1898 edition of what he is pleased to describe as 
the "Life of William Shakespeare," which Mr. Sidney 
Lee tells us is "from the 'Droeshout' painting now 
in the Shakespeare Memorial Gallery at Stratford-on- 
Avon"? 

As a matter of fact there is no "Droeshout" 




Plate XTX. 

The Original Stratford Monument, krom Rowe's Life 
OF Shakespeare, 1709. 



Plate XIX. 

The Original Stratford Monument, from Rowe's Life 
OF Shakespeare, 1709. 



Bacon is Shakespeare* 79 

painting-. The picture falsely so called is a manifest 
forgery and a palpable fraud, for in it all the revealing- 
marks of the engraving by Martin Droeshout which 
appeared in the 1623 folio are purposely omitted. 
A full size photo facsimile of Martin Droeshout's en- 
graving- is shewn in Plate 8, pp. 20-21. In the false 
and fraudulent j)ainting we find no double line to shew 
the mask, and the coat is really a coat and not a 
garment cunningly composed of two left arms. 

Still it does seem singularly appropriate and 
peculiarly fitting that Mr. Sidney Lee should have 
selected as the frontispiece of the romance which he 
calls the "Life" of Shakespeare, an engraving of the 
false and fraudulent painting now in the Stratford-on- 
Avon Gallery for his first edition of 1898; and should 
also have selected an engraving of the false and fraudu- 
lent monument now in Stratford-on-Avon Church as 
the frontispiece for his first Illustrated Library Edition 
of 1899. 

Mr. Sidney Lee is aware of the fact that Martin 
Droeshout was only fifteen years old when the Strat- 
ford actor died. But it is possible that he may not 
know that (in addition to the Shakespeare Mask which 
Droeshout drew for the frontispiece of the 1623 folio 
edition of the Plays of .Shakespeare, in order to reveal, 
to those who were able to understand, the true facts 
of the Authorship of those plays), Martin Droeshout 
also drew frontispieces for other books, which may be 
similarly correctly characterised as cunningly composed, 
in order to reveal the true facts of the authorship of 



8o Bacon is Shakespeare* 

such works, unto those who were capable of grasping 
the hidden meaning of his engravings. 

One other point it is worth while referring to. 
The question is frequently asked, if Bacon wrote under 
the name of Shakespeare, why so carefully conceal 
the fact ? An answer is readily supplied by a little 
anecdote related by Ben Jonson, which was printed 
by the Shakespeare Society in 1842, in their " Notes of 
Ben Jonson's conversations with William Drummond 
of Hawthornden." 

" He [Ben Jonson] was dilated by Sir James 
Murray to the King, for writting something against the 
Scots, in a play Eastward Hoe, and voluntarly im- 
prissonned himself with Chapman and Marston who 
had written it amongst them. The report, was that 
they should then [have] had their ears cut and noses. 
After their delivery, he banqueted all his friends ; 
there was Camden, Selden, and others ; at the midst 
of the feast his old Mother dranke to him, and shew 
him a paper which she had (if the sentence had taken 
execution) to have mixed in the prisson among his 
drinke, which was full of lustie strong poison, and that 
she was no churle, she told, she was minded first to 
have drunk of it herself." 

This was in 1605, and it is a strange and grim illus- 
tration of the dangers that beset men in the Highway 
of Letters. 

It was necessary for Bacon to write under pseu- 
donyms to conceal his identity, but he intended that at 
some time posterity should do him justice and it was 



Bacon ts Shakespeare, 8i 

for this purpose that, among the numerous clues he 
suppHed to reveal himself he wrote "The Tempest" in 
its present form, which Emile Montegut writing in the 
Revtie des Deux Mondes in 1865 declared to be the 
author's literary Testament. 

The Island is the Stage. Prospero the prime 
Duke, the great Magician, represents the Mighty 
Author who says " my brother . . . called Anthonio 
who next thyself of all the world I lov'd " . . . . 
" graves at my command have wak'd their sleepers 
op'd and let them forth by my so potent Art "... 

" and deeper than ever plummet sound 
He drown my booke." 

Yet he does not forget finally to add " I do ... . 
require my Dukedome of thee, which perforce I know 
thou must restore." 

The falsely crowned and gilded king of the Island 
who had stolen the wine (the poetry) " where should 
they find this grand liquor that hath gilded them " 
and whose name is Stephanos (Greek for crown) 
throws off at the close of the play, his false crown while 
Caliban says " What a thrice double asse was I to 
take this drunkard for a God." 

The mighty Magician Prospero says " knowing I 
lov'd my bookes, he furnished me from mine own 
Library, with volumes, that I prize above my Duke- 
dome." Bacon when he was dismissed from his high 
offices, devoted himself to his books. Not a book 
of any kind was found at New Place, Stratford. 



82 Bacon is Shakespeare^ 

Bacon's brother "whom next himself he loved" was 
called Anthony. "Gentle" Shakespeare of Stratford 
died from the effects of a " Drunken " bout ! 

It djes matter whether it is thouofht that the 
immortal works were written by the sordid money- 
lender of Stratford, the " Swine without a head, without 
brainc, wit, anything indeed, Ramping to Gentilitie " ; 
or were written by him who was himself the " Greatest 
Birth of Time " ; the man pre-eminently distinguished 
amongst the sons of earth ; the man who in order to 
" do good to all mankind," disguised his personality 
" in a despised weed," and wrote under the name of 
William Shakespeare. 

It does matter, and England is now declining any 
longer to disJionoiir and defame the greatest Genius 
of all time by continuing to identify him with the 
mean, drunken, ignorant, and absolutely unlettered, 
rustic of Stratford who never in his life wrote so much 
as his own name and in all probability was totally 
unable to read one single line of print. 

The hour has come for revealino- the truth. The 
hour has come when it is no longer necessary or 
desirable that the world should remain in ignorance 
that the Great Author of Shakespeare's Plays was 
himself alive when the Folio was published in 1623. 
The hour has come when all should know that this the 
greatest book produced by man was given to the world 
more carefully edited by its author as to every word 
in every column, as to every italic in every column, as 
to every apparent misprint in every column, than any 



Bacon is Shakespeare, 83 

book had ever before been edited, and more exactly 
printed than there seems any reasonable probability 
that any book will ever again be printed that may be 
issued in the future. 

The hour has come when it is desirable and 
necessary to state with the utmost distinctness that 

BACON IS SHAKESPEARE. 



CHAPTER X. 



Bacon is Shakespeare. 

Proved mechanically in a short chapter on the long word 
Honorificabilitudinitatibus. 



The long word found in "Loves Labour's lost" was 
not created by the author of Shakespeare's plays. 
Mr. Paget Toynbee, writing in the AthencBiim (London 
weekly) of December 2nd 1899, tells us the history of 
this long word. 

It is believed to have first appeared in the Latin 
Dictionary by Uguccione, called " Magnae Derivationes," 
which was written before the invention of printing, 
in the latter half of the twelfth century and seems 
never to have been printed. Excerpts from it were, 
however, included in the ' ' Catholicon " of Giovanni 
da Genova, which was printed among the earliest of 
printed books (that is, it falls into the class of books 
known as " incunabula," so called because they belong 
to the " cradle of printing," the fifteenth century). 



Plate XX. 

Reduced Facsimile of Page 136 of the Shakespeare Folio, 1623. 



13^ 



Lottes La&oars lojl. 



Curat. A rnoR fingulac and choife Epitbat , i 

Q^ratf eat his Tatle-lrcoki, 

"Ptda. He draweth out the shtcd of his Tetbof.tic, fi- 
ner then the ftapic of his argument. 1 abhor fuch pha- 
nattcall phantalims, fuch infociable andpoyntdeuife 
companions, fuch rackets of oitagtiphie, astofpeake 
douc finejwhen he {hould fay doubt; det,wheii he fiiold 
pronounce dcbt;d c b t.not def.hc clcpech aCa!f,Caufe: 
ha'.fc,haufc;iieighboiirt/i!ir<rt««-nebour;neigh3breuiated 
ne: thisisabhomr.iablc, which he would call abhomi- 
nableiii. infiiMutctii me of infamie ; aeiKteli^udomiue, to 
malte ftanticke,lunaticl<e ? 

^ura. Ltimdcu^beneinteHigo, 

Pcda. Tiome haoafor beoafrefcinnfi littlefcHtcht/twil 
feruc. 

Inter'Sragart^'Boj. 

Cumt. Viies ne quis vCKit ? 

Veda. yide(),&giiuAio, 

Brag, Chivra. 

V:da. O^^r'Chirra.not Sirta? 

3r<t^. Men of peace v;el! ineountrcd. 

Vci, Moftinillitarieficfalutation 

'Bey- They hauc bccne at agreat feaft of Languages, 
and ftolnc the fcraps. 

CUt>. O they hauc liu'd long on the slmes-basket of 
words. I maruell thy M.hath not eaten thee for a woid, 
for thou art not foloiig by the head ?s honorificabilitu- 
dinitatibus : Thouatccafierfvvallowedthcnaftapdra- 
gon. 

Tf-gc. Peace.thepealebeg-ns. 

"Brag. Mounlier,arcyounotlcttrfd? 

Vifs- Yes,yes, he teaches boyes the Horne-bookc : 
What is Ab fpeld backward with the horn on his he:d ? 

Pt&c. hijfKericia with ahorne adced. 

Peg. BamoftfeelyShecpe,v\ith3hon:e:you hcarc 
hisleitning. 

FcJa, ,^;»^«i/,thouConfonant? 

Pag. Thelaltofthc fiue Vowels if Youtepcatthem, 
or the fift ill. 

Pcdtt. I will repeat them : a e T. 

Pag. The Sheepe.the other tv/o concludes it ou. 

"Bmg, Nowby thefalc waucofthemcditeranium , a 
fweettutch,aqu'ckevene weofwit.fnip fnap, quick cJ 
hoine,it teioycech my iiite!Ieft,true wit. 

Page, O^redbyachildctoanolde man: which is 
wit.old. 

Pedt, What is the figure? What isihe figure? 

Page- Homes. 

PedH. Thou difputcs like an Infant : goe whip thy 

Gigge. 

Peg. LendmeyourHorneto make one, and I will 
whip about your lnfamicfn«/»f;V<; 2 gigge ef a Cuck- 
olds home. 

CUw. And Ihadbutonepeswyinthewovld, tl-;u 
fhoaidfthsueitiobuyGingerbre;;d:Ko!d,thereif.th3 
very Remuneration I had of thy f.1s\C.st,thc'i hslfps'.iny 
purfc of witjthou Pidgeon-epgecf direction. O S: tk: 
heauens were fopieafed.that thou wertbatr.-sy B:r.c.d; 
What a ioyfuU father wouldilthcuiriakcn!ie2?Goito, 
thou haft it addit»gi/,it the fingers ends.as th;y 'ty, 

Ptda. Ohlfmcllfalfe l.tz\r,e,d!iiig/:;i'kzv:!^ri~}, 

"Brug, ^rtf.mitttpreimiuiatiVie will tesfinj'.if^frea* 
thebatbarou^. DoyounotcducsteyouthaJtbsGi^srg- 
I houfe on the top of theMoiintSiiits? 

Peda. OriUbOTthehjl!. 



"Brag, At yout fweet pleafure^for the Mountair.c. 

Peaij. Idoe f/inscinffiim. 

Bra. Sir.ic is the lijngsmofi fweet pleafuceand af« 
feftion, to congratulate the PrinceJTc at her Pauilion, in 
thcp?,?irr(;j-Jof thisday, which tbetudemultiiudc call 
theafter-noone. 

ped. Thef^erirofthe day ,moft generous {ir,islia- 
b!e,ccngcu2nt, and nieafurable for the after.noone : the 
v/ord is well cuId,chofc, fweet, and act I doe affutcyou 
(ir,I doe aJTure. 

"Srag. Sir.the ICing is a noble Gentleman, and roy fa- 
niiliar,ldoeaffureyevery good friend : forwhat isin- 
ward betv.eene vs, letitpalfe. Idoebcfeech thee re- 
member thy curtefie. Ibefcech thee apparell thy head: 
and among ether importunate & rnoft Serious dcfigrej , 
and ofgreat import indeed too ; butlct that pafTc, fori 
muft tell thee it will pleofe his Grace ( by the world) 
fometimetoleanevpon my poore {hoylder, and with 
his royoil finger thus diUie with my cxcrement,v.itn my 
muKachio: but fv.ect heart let thatpaflc. By the world 
I recount no fable, fome certaine fpcciall honours it 
pleafcth his greatnciTe to impart iOayf-/;niido2^oMis:i, 
a man of trauell, that hath fccne the world : but let thct 
pafie ; the very all of all is: b ur 1 we et heart,] do implore 
ferrecic, that the King would haue n;ce prcfcni the 
Princeffe (fweet chuci.e) with fome delightful! oftcnta- 
tsor., or fliow , or pageant, crsniicke, orfire-workc: 
Now.vnderRanding that the Cv.rate and your fweet fclf 
r.re good ac fuch eruptions, and fodaine breal<ing out of 
myi:h{asitv;ere^ I hiucscquairited ycuwiihsl', to 
the end to craueyouralTifiance. 

Pede. Sir,you fhail prcfent before her the Nine Wor- 
thies. Sir i^f/iJ^rafj, as concerning fome entertainment 
oftimCjfomefbov^inthcpofletiorofthisday , to bee 
rendred by oar afTiflants the Kings command : ond this 
moR gallant, illuflrateandlearncd Gentleman, before 
the PrincelTe : I fay none fo fit as toprefenttheVJine 
Worthies. 

Caret. Whtre will you finde men worthy enoufjb to 
prefent them ? 

Pede. lofim, your felfeimy felfe.and this gallant pfirt- 
i\em:iali:diu Mac!;.ihsu ; thisSwaine(becaufeof his 
greatlimmeorioynt))}-.a!lp3fie i'^/w/^ the gteat , the 
Page p^ercitU!. 

Brag. Pr.rdon fir, error : He is not quantitie enough 
for that Worthies thumb, hee is not fo big as the end of 
hisClub. 

Pedes. Shall I haue audience? hefhall prefent ^«/tk- 
let inminoritie: hise»r«'and ^Ar/rfhallbceftrangling a 
Snake ; and I will haue an Apologic for that purpofe. 

Peg. An excellent deuice: foif snyoftheaudjcnc: 
hiiTe, you may cry, Well done Hercules, uovy thou ciu- 
flicft the Snake ; that is the way to make an offcDcc grs- 
tious, though few haue the grace to doe ir, 

'Sri'g. For th2 reft of the Worthies? 

fid.:. 7 will phy three my felfe, 

Prj. Thrice worthy Gentleman. 

B-'Rg. Shall I teU you a thing f 

pcir.. Wecttjnd. 

"S-.-.g. Wc%vi!lhaue,;ftbi3fadgcnot,anAntSque. I 
bc.';:ehyo:s follow- 

Ved, ?^Mgood-t!!aDj5»«?^tIioubs(Jfpoken no word 
allthisv^hils. 

jyM, KorvndsrScsdne.neneieherfir. 

Pci. /lien'!, «£ will employ thee. 

7?«//. Ilsrnakeonsinsdancs, o?fo : orl willplay 1 
on I 



Plate XX. 

Reduced Facsimile of Page 136 of the Shakespeare Folio, 1623. 



Line 



13 
'4 
>5 
16 

•7 
iK 
19 



23 

24 

25 

i6 

27 

s8 

29 

30 

3" 

32 

ii 

34 

35 

36 



96 



/ J^^J£>( Number of 
,iLjn.Jiqfa words in line 
in ordinary 
— ™^ type. 



Oiratt Amof^fingularandchoifsEpichsep 1 

7)ra^ Qtit his T^Me-h^sket 
*!Fedii. He dra wc:h out ths chtsd ©f his vcrbofitie, tV 
ner then the ftaple of his argument, i abhor facb phs- 
nasicail phsntanmsj fuch infociabJe andpoyn^dsuifs 
companions, fuch rackers of oxragrjphk, sscofpsal's 
doutfiae/vvhen he fhould fay doubt; det,when hcilicld 
pronounce <iebt;d e b c,notdct:heclepech aCalfjCa'ifc: 
haIfc,h2ufe:i»elghboi5r ^'tyrs^rf^r ncbo^jrjneigh abreuiseed 
ne: thisissbhominable, which he Vvfouldcrillsbhoji^i- 
nableni infintiatctii nie of infamie ; i?eii?.t€ligiidomimy to 
make franticke^lunaticke } 

(^ara. L am dco , hsKe intelligOt 

Feda^ 'Borne boon for i/ecifrefcian^^ lit tk rcratcht/tv/ii 
ferue. 

Curat, Vides m qttis venit ? 
fed^. Vidto^CTg<^dio^ 

Brag, Chiica, 

^€da» OmrfC\\\iX2i,T\ozS\n7i'i 

"Brag. Men of peace well incoun Jfcd. 

Fed, Moft niJlHiarie fir fahscation 

Bsj. They haue bcene at a great feafi- oi'Languages, 
and (loins the fcraps. 

C/cKJ*, O they haue liu'd lon^ on the slmes-baske? of 
v?Oids. I msfdell thy M. hath not eaten thee for a wavd, 
foi shoii ait not folong by th^ head '^.s honorificab3i:tu« 
dj^katibr.s : Thou arceafiec fwiillowed then a flapdra- 
gon. 

Page. Peacc,thc peak begins, 

"Brag. Mounfierj3rc you notlettred ? 

P^ge. Yesjyes, he teaches boyes the Horne-bookc •- 
"W^^'St ^s Ab fpeld backward with the horn on his head ? 

Ped(3c ^s,p:sericia with a home added. 

P<zg. Ba moft feely Shsepc, with a home : you heare 
his learning. 

Plate XXI. 

Portion of Page 136, full size, as in the Shakespeare Folio, 1623. 



•51 



Plate XXI. 

Portion of Page 136, full size, as in the Shakespeare Folio, 1623. 



Bacon is Shakespeare* 89 

In this '' Catholicon," which, though undated, was 
printed before a.d. 1500, we read 

"Ab honor ijico, hie et hcc honorijicabilis, — le et 

hec hoiioi'orijicabilitas, — tis et hcc honorijicabilitu- 

dijiitas, et est longissima dictio, que illo versu 

continetur — 

Fulget HonorificabiHtudinitatibus iste." 

It is perhaps not without interest to call the 
reader's attention to the fact that "Fulget hon | orifi 
I cabili I tudini | tatibus | iste" forms a neat Latin 
hexameter. It will be found that the revelation derived 
from the long word Honorificabilitudinitatibus is itself 
also in the form of a Latin hexameter. 

The lonpf word Honorificabilitudinitatibus occurs 
in the Quarto edition of " Loues Labor's Lost," which 
is stated to be " Newly corrected and augmented by 
W. Shakespere." Imprinted in London by W. W. for 
Cutbert Burby. 1598. 

This is the very first play that bore the name W. 
Shakespere, but so soon as he had attached the name 
W. Shakespere to that play, the great author Francis 
Bacon caused to be issued almost immediately a book 
attributed to Francis Meres which is called " Palladis 
Tamia, Wits Treasury" and is stated to be Printed by 
P. Short for Cuthbert Burbie, 1598. This is the same 
publisher as the publisher of the Quarto of " Loues 
Labor's lost" althouofh both the Christian name and 
the surname are differently spelled. 

This little book "Palladis Tamia, Wits Treasury" 
tells us on page 281, "As Plautus and Seneca are 



90 Bacon is Shakespeare, 

"accounted the best for comedy and tragedy among 
"the Latines, so Shakespeare among ye EngHsh, 
" is the most excellent in both kinds for the stage; 
"for Comedy, witness his Getleme of Verona, his 
"Errors, his Love Labors lost, his Love Labours 
"wonne, his Midsummers night dreame, and his 
"Merchant of Venice: for Tragedy, his Richard the 2, 
"Richard the 3, Henry the 4, King John, Titus 
"Andronicus, and his Romeo and Juliet." 

Here we are distinctly told that eleven other 
plays are also Shakespeare's work although only Loues 
Labors lost at that time bore his name. 

We refer on page 138 to the reason why it had 
become absolutely necessary for the Author to affix 
a false name to all these twelve plays. For our 
present purpose it is sufficient to point out that on 
the very first occasion when the name W. Shakespere 
was attached to any play, viz., to the play called 
" Loues Labor's lost," the i\uthor took pains to insert 
a revelation that would enable him to claim his own 
when the proper time should arrive. Accordingly 
he prepared the page which is found F 4 (the little 
book is not paged) in the Quarto of "Loues Labor's 
lost" which was published in 1598. A photo-facsimile 
of the page is shewn, Page 105, Plate 22. 

So far as is known there never was any other edition 
printed until the play appeared in the Folio of 1623 
under the name of " Loues Labour's lost," and we put 
before the reader a reduced facsimile of the whole 
page 136 of the 1623 Folio, on which the long word 



Bacon is Shakespeare* 91 

occurs, Page 86, Plate 20, and we give also an exact 
full size photo reproduction of a portion of the first 
column of that page, Page 87, Plate 21. 

On comparing the page of the Quarto with that 
of the Folio, it will be seen that the Folio page com- 
mences with the same word as does the Quarto and 
that each and every word, and each and every italic in 
the Folio is exactly reproduced from the Quarto 
excepting that Alms-basket in the Folio is printed 
with a hyphen to make it into two words. A hyphen 
is also inserted in the long word as it extends over one 
line to the next. The only other change is that the 
lines are a little differently arranged. These slight 
differences are by no means accidental, because Alms- 
basket is hyphened to count as two words and thereby 
cause the long word to be the 151st word. This is 
exceedingly important and it was only by a misprint in 
the Quarto that it incorrectly appears there as the 1 50th 
word. By the rearrangement of the lines, the long 
word appears on the 27th line, and the line, "What is 
A.B. speld backward with the horn on his head" 
appears as it should do on the 33rd line. At the time 
the Quarto was issued, when the trouble was to get 
Shakespere's name attached to the plays, these slight 
printer's errors in the Quarto — for they are printer's 
errors — were of small consequence, but when the play 
was reprinted in the Folio of 1623 all these little 
blemishes were most carefully corrected. 

The lonpf word Honorificabilitudinitatibus is found 
in " Loues Labour's lost" not far from the commence- 



92 Bacon is Shakespeare* 

merit of the Fifth Act, which is called Actus Quartus 
in the 1623 folio, and on Page 87, Plate 21, is given a 
full size photo facsimile from the folio, of that portion 
of page 136, in which the word occurs in the 27th line. 

On lines 14, 15 occurs the phrase, " Bome boon 
for boon prescian, a little scratcht, 'twil serve." I do 
not know that hitherto any rational explanation has 
been given of the reason why this reference to the 
pedantic grammarian "Priscian" is there inserted. 

The mention of Priscian's name can have no 
possible reference to anything apparent in the text, but 
it refers solely and entirely to the phrase which is to 
be formed by the transposition of the twenty-seven 
letters contained in the long word Honorificabilitu- 
dinitatibus; and it was absolutely impossible that the 
citation of Priscian could ever have been understood 
before the sentence containing the information which is 
of the most important description had been "revealed." 
We say "revealed" because the riddle could never 
have been "guessed." 

The "revealed" and "all revealing" sentence 
forms a correct Latin hexameter, and we will proceed 
to prove that it is without possibility of doubt or 
question the real solution which the "Author" intended 
to be known at some future time, when he placed the 
long word Honorificabilitudinitatibus, which is com- 
posed of twenty-seven letters, on the twenty-seventh 
line of page 136, where it appears as the 151st word 
printed in ordinary type. 

The all-important statement which reveals the 



Bacon is Shakespeare, 93 

authorship of the plays in the most clear and direct 
manner (every one of the twenty-seven letters com- 
posing the long word being employed and no others) 
is in the form of a correct Latin hexameter, which 
reads as follows — 

HI LUDI F. BACONIS NATI TUITI ORBI 

These plays F. Bacon's offspring are preserved for the 

world. 

This verse will scan as a spondaic hexameter as under 



HI LU I DI F I BACO | NIS NA | TI TUI | TI ORBI 

HI One long syllable meaning " these." 

LUDI Two long syllables meaning " stage plays," 
and especially "stage plays" in contradis- 
tinction to " Circus games." (Suetonius Hist: 
Julius Caes : 10. Venationes autem Ludosque 
et cum collega et separatim edidit). 
F, One long syllable. Now for the first time 

can the world be informed why the sneer 
" Bome boon for boon prescian, a little 
scratcht, 'twil serve " was inserted on lines 
14, 15, page 136 of the folio of 1623. Priscian 
declares that F was a mute and Bacon mocks 
him for so doing. Ausonius while giving the 
pronunciation of most letters of the alphabet 
does not afford us any information respecting 
the sound of F, but Ouintilian xii. 10, s. 29, 
describes the pronunciation of the Roman F. 
Some scholars understand him as indicating 



94 Bacon is Shakespeare* 

that the Roman F had rather a rougher sound 
than the Enghsh F. Others agree with Dr. 
H. J. Roby, and are of opinion that Quintihan 
means that the Roman F was "blown out 
between the intervals of the teeth with no 
sound of voice." (See Roby's Grammar of 
the Latin language, 1881, xxxvi.) But Dr. A. 
Bos in his " Petit Traite de prononciation 
Latine," 1897, asserts that the old Latin man- 
ner of pronouncing F was effe. Even if Dr. 
A. Bos is correct it is not at all likely that effe 
was a dissyllable, but most probably it would 
be sounded very nearly like the Greek " <^t," 
that is as " pfe." In any case (even if it 
were a dissyllable) F would, with the DI 
of LUDI, form two long syllables and scan 
as a spondee. The use of single consonants 
to form long or short syllables was very 
common among the Romans, but such appear 
mostly in lines impossible to quote. 

But the Great Author was well acquainted 
with such instances, and in this same page 136, 
in lines 6, 7, 8, he gives an example, shewing 
that the letter " B," although silent in debt, 
becomes, when debt is spelled, one of the four 
full words — d e b t, each of which has to be 
counted to make up the number "151."* 

* Under what is now known as " Rask's law " the Roman F becomes B in the 
Teutonic languages : fero, bear; frater, brother; feru, brew; flo, blow, etc., etc., 
shewing that the Roman F was by no means really a mute. 



Bacon is Shakespeare* 95 

This, which is an example of the great vahie 
and importance of what, in many of the plays, 
appears to be merely "silly talk" affords a 
strong additional evidence of the correctness 
of the "revealed" and "revealing" sentence 
which we shew was intended by the author to 
be constructed out of the long word. Bacon 
therefore was amply justified in making use 
of F as a long syllable to form the second 
half of a spondee. 
BACONIS Three long syllables, the final syllable 
being long by position. Pedantic gram- 
marians miorht arorue that natus beine a 
participle ought not to govern a genitive 
case, but should be followed by a prepo- 
sition with the ablative case, and that we 
ought to say "e Bacone nati " or "de 
Bacone nati." Other pedants have declared 
that natus is properly, i.e., classically, said 
of the mother only, although in low Latin, 
such as the Vulgate, we find i John v. 2, 
"Natos Dei," "born of God." But the 
Author of the plays, who instead of having 
"small Latin and less Greek" knew ''All 
Latin and very much Greek," was well aware 
that Vergil, Aeneid i. 654 (or 658 when the 
four additional lines are inserted at the 
beginning) gives us " Maxima natarum 
Priami," "greatest of the daughters of 
Priam," and in Aeneid ii. 527 " Unus natorum 



9 6 Bacon is Shakespeare* 

Priami," "one of the sons of Priam." There 
exists therefore the highest classical authority 
for the use of " Nati " in the sense of " Sons" 
or "offspring" governing a genitive case. 
" F. Baconis nati," " Francis Bacon's off- 
spring," is therefore absolutely and classically 
correct. 
NATI Two long syllables. A noun substantive 
meaning as shewn above "sons" or "off- 
spring." 
TUITI Two short syllables and one long syllable, 
which last is elided and disappears before the 
"o" of orbi, Tuiti which is the same word 
as tuti is a passive past participle meaning 
saved or preserved. It is derived from 
tueor, which is generally used as a deponent 
or reflexive verb, but tueor is used by Varro 
and the legal writers as a passive verb. 
ORBI Two long syllables. The word orbi may 
be either the plural nominative of orbus 
meaning "deprived" "orphaned," or it may 
be the dative sino-ular of Orbis meaningr "for 
the world." Both translations make good 
sense because the plays are " preserved for 
the world " and are " preserved orphaned." 
The present writer prefers the translation 
" for the world," indeed he thinks that to 
most classical scholars " tuiti orbi," "preserved 
bereft," looks almost like a contradiction 
in terms. 



Bacon is Shakespeare* 97 

Now and now only can a reasonable explanation 
be given for the first time of the purpose of the 
reference to Priscian, in lines 14 and 15, Plate 21, 
Page 87. And it is a singular circumstance that so 
far as the writer is aware not one of the critics has 
perceived that the mockery of Priscian forms a neat 
English iambic hexameter, indeed, in almost all 
modern editions of the Shakespeare plays, both the 
form and the meaning of the line have been utterly 
destroyed. In the original the line reads " Bome boon 
for boon prescian, a little scracht, 'twil serve." 

Perhaps the reader will be enabled better to un- 
derstand the sneer and the mockery by reading the 
following couplet — 

A fig for old Priscian, a little scratcht, 'twil serve 
A poet surely need not all his rules observe. 

And we still more perfectly understand the 
purpose of the hexameter form of the reference to 
Priscian if we scan the line side by side with the 
"revealed" interpretation of the long word honorifica- 
bilitudinitatibus. 



Borne boon 
HI LU 



for boon [ prescian 
DI F BACO 



a lit 
NIS NA 



tie scratcht I 'twil serve 
TI TUI TI ORBI 



These plays F Bacon's offspring are preserved for the 
world. 

This explanation of the real meaning to be derived 
from the long word honorificabilitudinitatibus seems 
to be so convincing as scarcely to require further 

H 



98 Bacon is Shakespeare* 

proof. But the Author of the plays intended when 
the tune had fully come for him to claim his own that 
there should not be any possibility of cavil or doubt. 
He therefore so arranged the plays and the acts of 
the plays in the folio of 1623 that the long word should 
appear upon the 136th page, be the 151st word thereon, 
should fall on the 27th line and that the interpretation 
should indicate the numbers 136 and 151, thus forming 
a mechanical proof so positive that it can neither be 
misconstrued nor explained away, a mechanical proof 
that provides an evidence which absolutely compels 
belief. 

The writer desires especially to bring home to the 
reader the manifest fact that the revealed and 
revealinof sentence must have been constructed before 
the play of " Loues Labor's lost" first appeared in 
1598, and that when the plays were printed in their 
present form in the 1623 folio the scenes and the acts 
of the preceding plays and the printing of the columns 
in all those plays as well as in the play of " Loues 
Labour's lost" required to be arranged with extra- 
ordinary skill in order that the revealing page in the 
1623 folio should commence with the first word of the 
revealing page in the original quarto of 1598, and that 
that page should form the 136th page of the folio, 
so that the longf word "Honorificabilitudinitatibus " 
should appear on page 136, be the 151st word, and 
fall upon the 27th line. 

Bacon tells us that there are 24 letters in the 
alphabet (/ and/ being deemed to be forms of the same 



Bacon is Shakespeare, 99 

letter, as are also u and v). Bacon was himself 
accustomed frequently to use the letters of the alphabet 
as numerals (the Greeks similarly used letters for 
numerals). Thus A is i, B is 2 . . . Y is 23, Z is 24. 
Let us take as an example Bacon's own name — B=2, 
a=i, c=3, 0=14, n=i3; all these added together 
make the number 2)?>^ ^ number about which it is 
possibly to say a good deal.* We now put the 
numerical value to each of the letters that form the 
lonof word, and we shall find that their total amounts to 
the number 287, thus: 

H O N O R I F I C A B I L I T U 

81413141796 9 3 I 2 911 919 20 
D I N I T A T I B U S 

4 9 13 9 19 I 19 9 2 20 18=287 

From a word containing so large a number of 
letters as twenty-seven it is evident that we can 
construct very numerous words and phrases ; but I 
think it "surpasses the wit of man" to construct 
any "sentence" other than the "revealed sentence," 
which by its construction shall reveal not only the 
number of the page on which it appears — which is 
136 — but shall also reveal the fact that the long word 
shall be the 151st word printed in ordinary type count- 
ing from the first word. 

On one side of the facsimile reproduction of part of 
page 136 of the 1623 folio, numbers are placed shewing 

* See Page 104. 



loo Bacon is Shakespeare* 

that the long word is on the 27th line, which was a 
skilfully purposed arrangement, because there are 
27 letters in the word. There is also another set of 
numbers at the other side of the facsimile page which 
shews that, counting from the first word, the long 
word is the 151st word. How is it possible that the 
revealing sentence, " Hi ludi F. Baconis nati tuiti 
orbi," can tell us that the page is 136 and the position 
of the long word is the 151st word? The answer is 
simple. The numerical value of the initial letters and 
of the terminal letters of the revealed sentence, when 
added together, give us 136, the number of the page, 
while the numerical value of all the other letters 
amount to the number 151, which is the number of 
words necessary to find the position of the long word 
" Honorificabilitudinitatibus," which is the 151st word 
on page 136, counting those printed in ordinary type, 
the italic words being of course omitted. 

The solution is as follows 
HI 

LUDI 
F 

BACONIS 
NATI 
TUITI 
ORBI 

the initial letters of which are 

H L F B N T O 



Bacon is Shakespeare* loi 

their numerical values being 

8 II 6 2 13 19 i4=total JT) 
and the terminal letters are 

I I S I I I 

their numerical values being 

9 9 18 9 9 9 = total 63 

Adding this 63 to jt^ we get 136 
while the intermediate letters are 

UDACONIATUITRB 

their numerical values being 

204 I 3 14 139 I 1920919172=151 

Total 287 

The reader thus sees that it is a fact that in the 
"revealed" sentence the sum of the numerical values 
of the initial letters, when added to the sum of the 
numerical values of the terminal letters, do, with 
mathematical certainty produce 136, the number of 
the page in the first folio, which is 136, and that the 
sum of the numerical values of the intermediate letters 
amounts to 151, which gives the position of the long 
word on that page, which is the 151st word in 
ordinary type. These two sums of 136 and 151, 
when added together, give 287, which is the sum of 
the numerical value of all the letters of the long word 
" Honorificabilitudinitatibus," which, as we saw on 
page 99, amounted to the same total, 287. 

As a further evidence of the marvellous manner in 
which the Author had arranged the whole plan, the long 
word of 27 letters is placed on the 27th line. 



I02 Bacon is Shakespeare* 

Can anyone be found who will pretend to 
produce from the 27 letters which form the word 
" Honorificabilitudinitatibus " another sentence which 
shall also tell the number of the page, 136, and that 
the position of the long word on the page is the 151st 
word ? 

I repeat that to do this " surpasses the wit of man," 
and that therefore the true solution of the meaning of 
the long word " Honorificabilitudinitatibus," about 
which so much nonsense has been written, is without 
possibility of doubt or question to be found by arranging 
the letters to form the Latin hexameter. 

HI LUDI F. BACONIS NATI TUITI ORBI 

These plays F. Bacon's offspring are preserved 
for the world. 

It is not possible to afford a clearer mechanical 
proof that 

THE SHAKESPEARE PLAYS ARE 
BACON'S OEESPRING. 

It is not possible to make a clearer and more 
definite statement that 

BACON IS THE AUTHOR OF THE 
PLAYS. 

It is not possible that any doubt can any longer 
be entertained respecting the manifest fact that 

BACON IS SHAKESPEARE. 




CHAPTER XI. 

On the revealing page 136 in 
"Loves Labour's lost." 

In the previous chapter it was pointed out that using- 
letters for numbers, Bacon's name is represented by t,t,. 

BACON. 

2 I 3 14 13=33 
and that the long word possesses the numerical value 
of 287. 

HONORIFIC A BILITU 

8 14 13 14 179 6 9 3 I 2 9 II 9 19 20 

D I N I T A T I B U S 

4 9 13 9 19 I 19 9 2 20 18=287 

In the Shakespeare folio, Page 136, shewn in Plate 
20 and Plate 21, on Pages 86-7, on line t,;^, we read 
"What is Ab speld backward with the horn on his 
head ? " 

The answer which is given is evidently an in- 
correct answer, it is " Ba, puericia with a home 
added," and the Boy mocks him with " Ba most seely 
sheepe, with a home : you heare his learning." 



I04 Bacon is Shakespeare* 

The reply should of course have been in Latin. 
The Latin for a horn is cornu. The real answer there- 
fore is " Ba corn-u fool." 

This is the exact answer you might expect to find 
on the line 2>3> since the number ^,7, indicates Bacon's 
name. And now, and now only, can be explained the 
very frequent use of the ornament representing a 
Horned Sheep, inside and outside "Baconian" books, 
under whatever name they may be known. An example 
will be found at the head of the present chapter on 
page 103. The uninitiated are still " informed " or 
rather "misinformed" that this ornament alludes to 
the celebrated Golden Fleece of the Argonauts and 
they little suspect that they have been purposely 
fooled, and that the real reference is to Bacon. 

It should be noted here that in the Quarto of 
" Loues Labor's lost," see Plate 22, Page 105, if the 
heading " Loues Labor's lost" be counted as a 
line, we read on the 33rd line: " Ba most seely sheepe 
with a home: you heare his learning." This would 
direct you to a reference to Bacon, although not so 
perfectly as the final arrangement in the folio of 1623. 

Proceeding with the other lines in the page, we 

read: — 

" Quis quis, thou consonant?" 

This means "Who, who"? [which Bacon] because in 
order to make the revelation complete we must be told 
that it is " Francis " Bacon, so as to leave no ambiguity 
or possibility of mistake. How then is it possible that 
we can be told that it is Francis Bacon? We read 
in answer to the question: 



called Loues Labor's lofl, 

Cur4t» A moft Cnguler and choyce Epithat, 

DraW'mt hisTahk'book^ 
^eioi, He dra wevh out the thted of his vcrbofitic, finer 
tlhen the fiapk of his argument. I abhorre fiich phanatticall 
ph an tarrnis, fuch in R>ciable andpoyntdcuife compamons, 
lucfi rackersof ortagriphie, as to/beakcdout6ne,wh€n he 
fhould fay doobt;der,when he fliold pronounce debt;d c b t, 
not det : he c!q>etb a Calfe^Caufc i halfe, haufe : neighbowc 
tjoeaturtiikfOMrf neigh abroiiated nc * this is abhominabk^ 
v^ich he would call abbominabie, it inlinuateth me of in- 
^mge : ne melt's domme, to make frantique Junatique? 
Curat. Lans dtojbene mulifgG* 

2V<^. Tomi bocnfsr hdm frejciaih a litle fcratcht^twil («rue» 
Enter Tns^oit, Bay* 

Brdg» Chiri-a. 

^ed'nu ^m Cbirra, not Siwa? 

Bf<^« Men of peace well inconifcd 

3?py- They hsue bssn &t a great fcaft of Languages^ and 

Cke9> Otheyhauelyudlongonthe almfbaflcet of wordcs» 
I matruaiJc t\\y M«bavh not eaten thee for a wordej foy thou 
art Q0£ frtlongby the bead as honosificabyitudifiitaubus: 
Tboij 85t esfier fwalbwcd then a ^lapdragon, 

lV/7f» P2a«x, the peak begins, 

!^j^» Mottnfiefj,aie you ntoc lettrcd? 

Tagk Yesyesjie tescbes boyes the Home-bookejWbat 
h Ab fpeld baikvvsjd \mh t^e h«jrne on hisheadf 

l^oik^ Ba../>A«y«-j<2 with a borne added, (learning. 

Togo Ba mo(^ feciy Shccpe, vnih a home t you hcare his 

Te(k- J^«j^;?:!^thonConfonarit? 

l?iig. The hi^ of die liue Vowels ifYouxepeate them, 
©tthefiftifl* 

*Te^. 1 will repcatc thcjii s a e Y, 

Taf^. The Sheepe, the othcf two concludes it on, 

'^^^fiy Nowbythc? fault v/anc of the m.^taxanium , a 

iweete 

Plate XXII. 

Facsimile from "Loues Labor's Lost," first edition, 1598, 



Plate XXII. 

Facsimile from " Loues Labor's Lost," first edition, 1598. 



Bacon is Shakespeare* 



107 



" Oiiis quis, thou consonant? 
The last of five vowels if you repeat them, the 

fifth if I. 
I will repeat them a, e, I. 
The Sheepe, the other two concludes it o, u." 

Now here we are told that a, e, I, o, u is the answer 
to Quis quis, and we must note that the I is a capital 
letter. Therefore a is followed by e, but I being a 
capital letter does not follow e but starts afresh, and 
we must read I followed by o, and o followed by u. 




#*-t ^<-*-«^ 




-/^y/.: J%<^^>^ ^ 



Plate XXIII. 

Facsimile of a Contemporary Copy of a Letter of Francis Bacon. 

Is it possible that these vowels will give us the 
Christian name of Bacon ? Can it be that we are told 
on what page to look ? The answer to both these 
questions is the affirmative "Yes." 

The great Folio of Shakespeare was published in 
1623, and in the following year, 1624, there was brought 
out a great Cryptographic book by the " Man in the 



io8 



Bacon is Shakespeare* 



Moon." We shall speak about this work presently; 
suffice for the moment to say that this book was issued 
as the key to the Shakespeare Folio of 1623. If 
we turn to page 254 in the Cryptographic book 
we shall find Chapter XIV. " De Transpositione 




^uarta Tabula ^ fA;* Vigenerio, pag.20z. b. 
'vlndkat fibiprdcipHum^ <lHod Vocalibm tantunuk 
Jcrlbere hk lie eat. 

Plate XXIV. 

Facsimiles from page 255 of " Gustavi Seleni Cryptomenytices," 

published 1624. 

[The Square Table is much enlarged]. 

Obliqua, per dispositionem Alphabeti." This chapter 
describes how, by means of square tables, one letter 
followed by another letter will give the cypher letter. 
On the present page appears the square, which is shown 
in Plate 24, which enables us to answer the question 
" Quis quis." 



Bacon is Shakespeare, 



109 



By means of this square we perceive that "a" 
followed by "e" gives us the letter F, that "I" followed 
by "o" gives us the letter R, and that "o" followed 
by "u" gives us the letter A. The answer therefore 
to Quis quis (which Bacon do you mean) is Fra 
[Bacon]. See Plate 23, Page 107. 

But what should induce us to look at this particular 
chapter on page 254 of the Cryptographic book for the 



J E I r 


^ b f 1 p c 


£ c g m q u 


I d h n r x 


c i s a [ 



Plate XXV. 

Facsimile from page 202b of " Traicte des chiffres ou 

SECRETES MANlfeRES D'ESCRIRE," PAR ViGENERE. 

solution? The answer is clearly given in the wonderful 
page 136 of the 1623 Folio of Shakespeare. 

As has been pointed out the numerical value of 
the long word Honorificabilitudinitatibus is 287, and 
the numerical value of Bacon is ^t,. We have found 
Bacon from Ba with a horn, and we require the re- 
mainder of his name, accordingly deduct ^t, from 287, 
and we get the answer 254 which is the number of the 
required page in the Cryptographic book of 1624. But 



no Bacon is Shakespeare* 

the wise Author knew that someone would say 
"How does this apply to the 1598 Quarto published 
twenty-six years before the great Cryptographic book 
appeared?" On Plate 24, Page 108, taken from page 
255 of the Cryptographic book of 1624, it is shewn 
that the following lines are attached to the square 

" Quarta Tabula, ex Vigenerio, pag. 202. b, etc." 
= Square table taken from Vigenerio, page 202. b. 

This reference is to the work entitled, " Traicte des 
chififres ou secretes manieres d'escrire " : par Blaise 
de Vigenere, which was published in Paris in 1586. 
Spedding states (Vol. I. of " Bacon's Letters and Life," 
p. 6-8) that Francis Bacon went in 1576 to France, 
with Sir Amias Paulet, the English Ambassador. 
Bacon remained in France until 1578-9, and when in 
1623 he published his " De Augmentis Scientiarum" — 
(the Advancement of Learning) he tells us that while 
in Paris he invented his own method of secret writing. 
See Spedding's " Works of Bacon," Vol. 4, p. 445. 

The system which Bacon then invented is now 
known as the Biliteral Cypher, and it is in fact prac- 
tically the same as that which is universally employed 
in Telegraphy under the name of the Morse Code. 

A copy of V^igenere's book will be found in 
the present writer's Baconian library, for he knew by 
the ornaments and by the other marks that Bacon 
must have had a hand in its production. 

Anyone, therefore, reading the Quarto edition of 
" Loues Labor's lost," 1598, and putting two and two 



Bacon is Shakespeare* 1 1 1 

together will find on p. 202. b of Vigenere's book, the 
Table, of which a facsimile is here given, Plate 25, 
Page 109. This square is even more clear than the 
square table in the great Cryptographic book. 

Thus, upon the same page 136 in the Folio, or on 
F. 4 in the Quarto, in addition to Honorificabilitudini- 
tatibus containing the revealing sentence "Hi ludi 
F Baconis nati tuiti orbi ":^" These plays F Bacon's 
offspring are entrusted to the world," we see that we are 
able to discover on line t^t, the name of Bacon, and by 
means of the lines which follow that it is Fra. Bacon 
who is referred to. 

Before parting with this subject we will give one 
or two examples to indicate how often the number 2)^> 
is employed to indicate Bacon. 

We have just shewn that on page 136 of the Folio 
we obtain Bacon's name on line t,;^^. On page 41 
we refer to Ben Jonson's " Every man out of his 
Humour." In an extremely rare early Quarto [ciira 
1600] of that play some unknown hand has numbered 
the pages referring to Sogliardo (Shakespeare) and 
Puntarvolo (Bacon) 32 and 32 repeated. Incorrect 
pagination is a common method used in "revealing" 
books to call attention to some statements, and anyone 
can perceive that the second 32 is really 2)2) ^ri<J ^^ 
usual reveals something about Bacon. 

On page 61 we point out that on page T)?) of the little 
book called "The Great Assizes holden in Parnassus" 
Apollo speaks. As the King speaks in a Law Court 
only through the mouth of his High Chancellor so 



1 1 2 Bacon is Shakespeare* 

Apollo speaks in the supposititious law action through 
the mouth of his Chancellor of Parnassus, who is Lord 
V^erulam, i.e. Bacon. Thus again Bacon is found on 
P^gG ZZ- The writer could give very numerous 
examples, but these three which occur incidentally will 
give some idea how frequently the number t,t, is used 
to indicate Bacon,* 

The whole page 136 of the Folio is cryptographic, 
but we will not now proceed to consider any other 
matters contained upon it, but pass on to discuss the 
great Cryptographic book which was issued under 
Bacon's instructions in the year following the publica- 
tion of the great Folio of Shakespeare. Before, how- 
ever, speaking of the book, we must refer to the 
enormous pains always taken to provide traps for the 
uninitiated. 

If you go to Lunseburg, where the Cryptographic 
book was published, you will be referred to the 



*The number ^i too obviously represented Bacon, and therefore 53 which 
spells sow (S 18, O 14, W 21 = 53) was substituted for 33. Scores of examples 
can be found where on page 53 some reference is made to Bacon in books 
published under various names, especially in the Emblem Books. In many 
cases page 55 is misprinted as 53. In the Shakespeare Folio 1623 on the first 
page 53 we read " Hang Hog is latten for Bacon," and on the second page 53 
we find " Gammon of Bacon." When the seven extra plays were added in the 
third folio 1664 in each of the two new pages 53 appears " St. Albans." In the 
fifth edition, published by Rowe in 1709, on page 53 we read "deeper than did 
ever Plummet sound I '11 drown my Book "; and on page 55 misprinted 53 (the 
only mispagination in the whole book of 3324 pages) we find " I do .... require 
My Dukedom of thee, which perforce I know Thou must restore." In Bacon's 
"Advancement of Learning," first English edition, 1640, on page 55 misprinted 
53 in the margin in capital letters (the only name in capital letters in the whole 
book) we read "BACON." In Florio's "Second Frutes," 1591, on page 53, is 
"slice of bacon" and also "gammon of bakon," to shew that Bacon may be 
misspelled as it is in Drayton's " Polyolbion," 1622, where on page 53 we find 
Becanus. A whole book could be filled with similar instances. 



Bacon is Shakespeare, 



1 1 



Library at Wolfenbiittel and to a series of letters to 
be found there which contain instructions to the 
engraver which seem to prove that this book has no 
possible reference to Shakespeare. We say, seem 
to prove, for the writer possesses accurate photographs 
of all these letters and they really prove exactly the 
reverse, for they are, to those capable of understanding 
them, cunningly devised false clues, quite clear and 
plain. That these letters are snares for the uninitiated, 



io6 



Surnames. 




Plate XXVI. 

the writer, who possesses a "Baconian" library, could 
easily prove to any competent scholar. 

Before referring to the wonderful title page of the 
Cryptographic book which reveals the Bacon- Shakes- 
peare story, it is necessary to direct the reader's 
attention to Camden's "Remains," published 1616. 
We may conclude that Bacon had a hand in the 
production of this book, since Spedding's " Bacon's 
Works," \'ol. 6, p. 351, and Letters, Vol. 4, p. 211, 
informs us that Bacon assisted Camden with his 
" Annales." 

In Camden's "Remains," 161 6, the Chapter on 
Surnames, p. 106, commences with an ornamental 

J 



114 Bacon is Shakespeare* 

headline like the head of Chapter lo, p. 84, but printed 
" upside doivnr A facsimile of the heading in Camden's 
book is shewn in Plate 26, page 113. 

This trick of the upside down printing of orna- 
ments and even of engravings is continually resorted 
to when some revelation concerning Bacon's works is 
given. Therefore in Camden's "Remains" of 1616 in 
the Chapter on Surnames, because the head ornament 
is printed upside down, we may be perfectly certain 
that we shall find some revelation concerningf Bacon 
and Shakespeare. 

Accordingly on p. 121 we find as the name of a 
village " Bacon Creping." There never was a village 
called "Bacon Creping." And on page 128 we read 
"such names as Shakespeare, Shotbolt, Wagstafife." 
In referring to the great Cryptographic book, we 
shall realise the importance of this conjunction of 
names. 

On Plate 27, Page 115, we give a reduced facsimile 
of the title page, which as the reader will see, states in 
Latin that the work is by Gustavus Selenus, and con- 
tains systems of Cryptographic writing, also methods 
of the shorthand of Trithemius. The Imprint at the 
end, under a very handsome example of the double A 
ornament which in various forms is used generally in 
books of Baconian learning, states that it was pub- 
lished and printed at Lunaiburg in 1624. Gustavus 
Selenus we are told in the dedicatory poems prefixed 
to the work is " Homo lunse" [the man in the Moon]. 

Look first at the whole title page ; on the top is a 





GusTA VI Sel eni 

CRYPTOME- 

I NYTICES ETCRY 

PTOGRAPHIvE 
Libri IX. 

In quibiis (^ plamfimo-, 
STEGANOGRAPHI/E 

a 

ohanneTrithetmio, 

Abbate Sp.inhcymenfKSc Herbipolenfi, 

adrnirandiingcnij Viro,magicc& 

anigmaiice o.imcoa- 

fcripti, 

e N O D A TIO 

traditur. 

nfperfis ubique Authorisac 

Aljorum , non lontenmcndis 




Plate XXVII. 

Facsimile Title Page. 



Plate XXVII. 

Facsimile Title Page. 



Plate XXVIII. 

Left-Hand Portion, much enlarged, of Plate XXVII. 




■^ '/ "^-^^ ^*^-^--'^^sa"T''-yyri!£i^<^i--;- 1 "=^ ^" ■ 






\i 




Plate XXVIII. 

Left-Hand Portion, much enlarged, of Plate XXVII 




:S ^- 



3' ■ '^^m~ .Cf<kir{T^-J^^^ '■ 



^.-.v- .__-===g^.ps.,W^^"^'Mi^^^^a. 



m^^ 




Plate XXIX. 

Right-Hand Portion, much enlarged, of Plate XXVII. 



Plate XXIX. 

Right-Hand Portion, much enlarged, of Plate XXVII. 



Plate XXX. 

Top Portion of Plate XXVII., much enlarged. 




X 


^ 


X 


> 


X 


X 


o 






X 
X 
X 



Plate XXXI. 

Bottom Portion of Plate XXVII., much enlarged. 



Bacon is Shakespeare* 125 

tempest with flaming beacons, on the left (of the 
reader) is a gentleman giving something to a spearman, 
and there are also other figures ; on the right is a man 
on horseback, and at the bottom in a square is a much 
dressed up man taking the "Cap of Maintenance" 
from a man writing a book. 

Examine first the left-hand picture shewn en- 
larged, Plate 28, Page 118. You see a man, evidently 
Bacon, giving his writing to a Spearman who is 
dressed in actor's boots (see Stothard's painting of 
Falstaff in the "Merry Wives of Windsor" wearing 
similar actor's boots, Plate 32, Page 127). Note that 
the Spearman has a sprig of bay in the hat which he 
holds in his hand. This man is a Shake-Spear, nay 
he really is a correct portrait of the Stratford house- 
holder, which you will readily perceive if you turn to 
Dugdale's engraving of the Shakespeare bust, Plate 5, 
Page 14. In the middle distance the man still holding 
a spear, still being a Shake-Speare, walks with a staff, 
he is therefore a Wag-staffe. On his back are books — 
the books of the plays. In the sky is seen an arrow, 
no, it is not sufficiently long for an arrow, it is a Shot- 
bolt (Shakespeare, Wagstaffe, Shotbolt, of Camden's 
"Remains"). This Shotbolt is near to a bird which 
seems about to orive to it the scroll it carries in its 
beak. But is it a real bird? No, it has no real claws, 
its feet are Jove's lightnings, verily, "it is the Eagle 
of great verse." 

Next, look on Plate 29, Page 119, which is the 
picture on the right of the title page. Here you see 



126 Bacon is Shakespeare* 

that the same Shake-spear whom we saw In the left- 
hand picture is now riding on a courser. That he is 
the same man is shewn by the sprig of bay in his hat, 
but he is no longer a Shake-spear, he is a Shake-i^^^r. 
Note how much the artist has emphasised the drawing 
of the spur. It is made the one prominent thing in the 
whole picture. We refer our reader to " The Returne 
from Pernassus" (see pp. 47-48) where he will read, 

"England affordes those glorious vagabonds 
"That carried earst their fardels on their backes 
" Coursers to ride on through the gazing 
streetes." 

Now glance at the top picture on the title page 
(see Plate 27, Page 115,) which is enlarged in Plate 30, 
Page 122. Note that the picture is enclosed in the 
magic circle of the imagination, surrounded by the 
masks of Tragedy, Comedy, and P'arce (in the same 
way as Stothard's picture of the " Merry Wives of 
Windsor," Plate 32, Page 127). The engraving repre- 
sents a tempest with beacon lights; No; it represents 
"The Tempest" of Shakespeare and tells you that 
the play is filled with Bacon lights. (In the sixteenth 
century Beacon was pronounced Bacon. " Bacon 
great Beacon of the State.") 

We have already pointed out that "The Tempest," 
as Emile Monteofut shewed in the Revue des Deux 
Moiidcs in 1865, is a mass of Bacon's revelations 
concerninof himself. 

At the bottom (see Plate 27, Page 115, and Plate 
31 Page 123), within the "four square corners of fact," 




r\ o 

f^ Q 

X .2 



Plate XXXII. 

Scene from "The Merry Wives of Windsor," painted by 
Thomas Stothard. 



Bacon is Shakespeare* 129 

surrounded with disguised masks of Tragedy, Comedy, 
and Farce, is shewn the same man who gave the scroll 
to the Spearman, see Plate 29, Page 118 (note the 
pattern of his sleeves). He is now engaged in writing 
his book, while an Actor, very much overdressed and 
wearing a mask something like the accepted mask of 
Shakespeare, is lifting from the real writer's head a 
cap known in Heraldry as the " Cap of Maintenance." 
Again we refer to our quotation on page 48. 

" Those glorious vagabonds 

Sooping it in their glaring Satten sutes." 

Is not this masquerading fellow an actor " Sooping 
it in his glaring Satten sute"? The figure which we say 
represents Bacon, see Plate 28, wears his clothes as a 
gentleman. Nobody could for a moment imagine that 
the masked creature in Plate 31 was properly wearing 
his own clothes. No, he is "sooping it in his glaring 
Satten sute." 

The whole title page clearly shows that it is drawn 
to give a revelation about Shakespeare, who might just as 
well have borne the name of Shotbolt or of Wagstaffe 
or of Shakespur, see "The Tempest," Act v., Scene i. 

"The strong bass'd promontorie 
" Have I made shake, and by the spurs 
pluckt up." 

There are also revealing title pages in other 
books, shewing a spear and an actor wearing a single 
spur only (see Plate 35, Page 153). 



130 Bacon is Shakespeare* 

It will be of interest to shew another specially 
revealing title page, which for upwards of a hundred 
years remained unaltered as the title page to Vol. I. 
of Bacon's collected works, printed abroad in Latin. 
A different engraving, representing the same scene 
was also published in France. These engravings, 
however, were never reproduced or used in England, 
because the time for revelation had not yet come. 
Bacon is shewn seated (see Plate t,t,, Page 131). 
Compare his portrait with the engraving of the gentle- 
man giving his scroll to the Spearman in the Gustavus 
Silenus frontispiece, Plate 27, Page 115, and Plate 28, 
Page 118. Bacon is pointing with his right hand in 
full light to his open book, while his left hand in 
deepest shadow is putting forward a figure holding in 
both its hands a closed and clasped book, which by 
the cross lines on its side (the accepted symbol of a 
mirror) shows that it represents the mirror up to Nature, 
i.e., Shakespeare's plays. Specially note that Bacon 
puts forward with his LEFT hand the figure holding 
the book which is the mirror up to Nature. In the 
former part of this treatise the writer has proved that 
the figure that forms the frontispiece of the great 
folio of Shakespeare's plays, which is known as the 
Droeshout portrait of Wm. Shakespeare, is really 
composed of two LEFT arms and a mask. The 
reader will now be able to fully realise the revelation 
contained in Droeshout's masked figure with its two 
left arms when he examines it with the title page 
shown, Plate t^t,, Page 131. 




Ltgd. Batavorvm 

Apud Vranciicum JMoiardum. 

J^ Adrianum Wijngaerde. Jnni7 ]6^^, 



Plate XXXIII. 

Facsimile Title Page. 



Plate XXXIII. 

Facsimile Title Page. 



Bacon is Shakespeare* 133 

Bacon is putting forward what we described 
as a "figure"; it is a "man" with false breasts to 
represent a woman (women were not permitted to act 
in Bacon's time), and the man is clothed in a goat 
skin. Tragedos was the Greek word for a goat skin, 
and Tragedies were so called because the actors were 
dressed in goat skins. This figure therefore represents 
the Tragic Muse. Here in the book called De Aug- 
meiitis Scicntiaruin, which formed one part of the Great 
Instauration, is placed an engraving to show that 
another part of the Great Instauration known as 
Shakespeare's Plays was issued LEFT-HANDEDLY, 
that is, was issued under the name of a mean actor, the 
actor Shakespeare. This title page is very revealing, 
and should be taken in conjunction with the title page 
of the Cryptographic book which under the name of 
Gustavus Silenus, '" Homo Iujkt'' the "Man in the 
Moon," was published in 1624 in order to form a key 
to certain cyphers in the 1623 Folio of Shakespeare's 
Plays. 

These two title pages were prepared with con- 
summate skill in order to reveal to the world, when 
the time was ripe, that 

BACON IS SHAKESPEARE. 



CHAPTER XII. 

The 
"Householder of Stratford.'' 

We have in Chapter II. printed Mr. George Hookham's 
list of the very few incidents recorded concerning- Shake- 
speare's Hfe, but, as we have already shewn, a great deal 
of the "authentic history" of the Stratford clown has 
in fact been revealed to us. Ben Jonson calls the 
Stratford man who had purchased a coat of arms 
" Sogliardo " (scum of the earth), says he was brother to 
Sordido, the miser (Shakspeare was a miser), describes 
him as an essential clown (that means that he was 
a rustic totally unable to read and write), shews that he 
speaks " i' th' straungest language," and calls Heralds 
" Harrots," and finally sums him up definitely as a 
" Swine without a head, without braine, wit, anything 
indeed. Ramping to Gentilitie." In order that there 
should be no mistake as to the man who is referred to, 
" Sogliardo's " motto is stated to be "Not without 
Mustard," Shakespeare's motto being " Not without 
right" (Non sanz droict). Ben Jonson's account of the 
real Stratford man is confirmed by Shakespeare's play 



Bacon is Shakespeare* 135 

of "As You Like it," where Touchstone, the courtier 
playing- clown, says, "It is meat and drinke to 
me to see a clowne" (meaning an essential clown, 
an uneducated rustic) ; yet he salutes him as " gentle," 
shewing that the mean fellow possesses a coat of 
arms. 

The Clown is born In the Forest of Ardennes 
(Shakespeare's mother's name was Arden). He is 
rich, but only so-so rich, that is rich for a clowne (New 
Place cost only ^60). He says he is wise, and Touch- 
stone mocks him with Bacon's words, " The Foole 
doth think he is wise, but the wise man knows him- 
self to be a Fool." He says he has "a prettie wit" 
(pretty wit is the regular orthodox phrase as applied to 
Shakespeare). But when asked whether he is learned, 
he distinctly replies " No," which means that he says 
that he cannot read one line of print. A man who 
could read one line of print w^as at that period in the 
eye of the law " learned," and could not be hanged 
when convicted for the first time except for murder. If 
any persons be found to dispute the fact that the reply 
"No" to the question "Art thou learned?" meant in 
Queen Elizabeth's day " I cannot read one line of 
print " such persons must be totally unacquainted with 
Law literature.* 

* About A.D. 1300 benefit of clergywas extended to all males who could read. 
In 1487 it was enacted that mere laymen should have the benefit only once and 
should be branded on the thumb to shew they had once had it. IV/tinisics, 1623, 
p. 69, tells us : " If a prisoner, by help of a compassionate prompter, hack out 
his neck verse (Psalm li. v. i in Latin) and be admitted to his clergy, the jailors 
have a cold iron in store if his purse be hot, but if not, a hot iron that his fist 
may /"/s." Benefit of clergy was not totally abolished till 1827. 



136 Bacon is Shakespeare* 

The play "As You Like it" confirms Ben 
Jonson's characterisation of Shakespeare being " an 
essential clowne." Next let us turn to Ratsei's Ghost 
(see p. 49), which, as Mr. Sidney Lee, in his " Life of 
William Shakespeare," p. 159, 1898 ed., confesses, 
refers to Shakespeare. Ratsei advises the young actor 
to copy Shakespeare, " and to feed upon all men, to 
let none feede upon thee " (meaning Shakespeare was 
a cruel usurer). As we shew, page 53, Grant White 
says: "The pursuit of an impoverished man for the 
sake of imprisoning him and depriving him both of 
the power of paying his debts and supporting himself 
and his family, is an incident in Shakespeare's life 
which it requires the utmost allowance and considera- 
tion for the practice of the time and country to enable 
us to contemplate with equanimity — satisfaction is 
impossible." 

Ratsei continues, " Let thy hand be a stranger to 
thy pocket" [like the miser, Shakespeare], "thy hart 
slow to perform thy tongues promise " [like the lying 
rascal Shakespeare], and when thou feelest thy purse 
well lined, buy thee a place of lordship in the country " 
[as Shakespeare had bought New Place, Stratford] 
" that, growing weary of playing, thy mony may there 
bring thee to dignitie and reputation " [as Shakespeare 
obtained a coat of arms], " then thou needest care for 
no man, nor not for them that before made thee prowd 
with speaking their words upon the stage." This 
manifestly refers to two things, one that Shakespeare 
when he bought New Place, quitted London and 



Bdcon is Shakespeare* 137 

ceased to act; the other that he continually tried to 
exact more and more "blackmail" from those to 
whom he had sold his name. 

Now we begin at last to understand what we are 
told by Rowe, in his " Life of Shakespeare," published 
in I 709, that is, 93 years after Shakespeare's death in 
1 61 6, when all traces of the actual man had been of 
set purpose obliterated, because the time for revealing 
the real authorship of the plays had not yet come. 
Rowe, page x., tells us: "There is one Instance so 
singular in the Magnificence of this Patron of Shakes- 
peare's, that if I had not been assur'd that the Story 
was handed down by Sir William D'Avenant, who was 
probably very well acquainted with his Affairs, I should 
not have ventured to have inserted, that my Lord 
Southampton, at one time, gave him a thousand 
Pounds, to enable him to go through with a Purchase 
which he heard he had a mind to." 

This story has been hopelessly misunderstood, 
because people did not know that a large sum had to 
be paid to Shakespeare to obtain his consent to allow 
his name to be put to the plays, and that New Place 
had to be purchased for him, 1597 (the title deeds were 
not given to him for five or six years later), and that 
he had also to be sent away from London before " W 
Shakespeare's " name was attached to any play, the 
first play bearing that name being, as we have 
already pointed out, page 89, " Loues Labor's lost," 
with its very numerous revelations of authorship. 
Then, almost immediately, the world is informed that 



138 Bacon is Shakespeare* 

eleven other plays had been written by the same 
author, the list including the play of " Richard II." 

The story of the production of the play of 
" Richard II." is very curious and extremely instructive. 
It was originally acted with the Parliament scene, 
where Richard II. is made to surrender, commencing 
in the Folio of 1623 with the words — 

" Fetch hither Richard, that in common view 
he may surrender," 
continuing with a description of his deposition ex- 
tending over 167 lines to the words — 

" That rise thus nimbly by a true king's fall." 
This account of the deposition of a king reached Queen 
Elizabeth's ears ; she was furiously angry and she 
exclaimed: " Seest thou not that I am Richard II." 

A copy of the play without any author's name was 
printed in 1597, omitting the story of the deposition 
of Richard II.; this was followed by a second and prob- 
ably a third reprint in 1597, with no important altera- 
tions, but still without any author's name. Then, after 
the actor had been sent away to Stratford, Shakespeare's 
name was put upon a fourth reprint, dated 1598. 

The story of Richard II.'s deposition was not 
printed in the play till 1608,* five years after the death 
of Queen Elizabeth. 

* In 1599 Sir John Hay ward, LL. L)., brought out "The Life and raigne of 
King Henrie IIII extending to the end of the first yeare of his raigne." This 
little book contains an account of the trial of Richard II., and was dedicated to 
the Earl of Esse.x in very encomiastic terms. It irritated Queen Elizabeth in the 
highest degree, and she clapped Ilayward into prison and employed Sir Francis 
Bacon to search his book for treason. (Lowndes, Bohn, p, 1018), The story 
carefully read reveals the fact that it was really the play rather than the book 
which enraged Queen Elizabeth. 



Bacon is Shakespeare* 139 

This history of the trouble arising- out of the 
production of the play of "Richard II." explains why 
a name had to be found to be attached to the plays. 
Who would take the risk.'^ An actor was never 
"hanged," he was often whipped, occasionally one lost 
his ears, but an actor of repute would probably have 
refused even a laro-e bribe. There was, however, a 
grasping money-lending man, of little or no repute, 
that bore a name called Shaxpur, which might be 
twisted into Bacon's pen-name Shake-Speare, and that 
man was secured, but as long as he lived he was con- 
tinually asking for more and more money. The grant 
of a coat of arms was probably part of the original 
bargain. At one time it seems to have been thought 
easier to grant arms to his father. This, however, was 
found impossible. But when in 1597 Bacon's friend 
Essex was Earl Marshal and chief of the Heralds' Col- 
lege, and Bacon's servant Camden (whom Bacon had 
assisted to prepare the "Annales" — see Spedding's 
"Bacon's Works," Vol. 6, p. 351, and Letters, Vol. 4, 
p. 211), was installed as Clarenceux, King-of-Arms, the 
grant of arms to Shakespeare was recognised, 1599. 
Shakespeare must have been provisionally secured 
soon after 1593, when the "Venus and Adonis" was 
signed with his name, because in the next year, 1594. 
"The Taming of a Shrew" was printed, in which the 
opening scene shews a drunken "Warwickshire" rustic 
[Shakspeare was a drunken Warwickshire rustic], who 
is dressed up as " My lord," for whom the play had 
been prepared. (In the writer's possession there is a 



HO Bacon is Shakespeare* 

very curious and absolutely unique masonic painting 
revealing "on the square" that the drunken tinker is 
Shakspeare and the Hostess, Bacon.) 

The early date at which Shakspeare had been 
secured explains how in 1596 an application for a grant 
of arms seems to have been made (we say seems) for 
the date may possibly be a fraud like the rest of the 
lying document. 

We have referred to Shakspeare as a drunken 
Warwickshire rustic who lived in the mean and dirty 
town of Stratford-on-Avon. There is a tradition that 
Shakespeare as a very young man was one of the 
Stratfordians selected to drink against "the Bidford 
topers," and with his defeated friends lay all night 
senseless under a crab tree, that was lone known as 
Shakespeare's crab tree. 

Shakespeare's description of the Stratford man as 
the drunken tinker in "The Taming of a Shrew" 
shews that the actor maintained his "drunken" 
character. This habit seems to have remained with 
him till the close of his life, for Halliwell-Phillipps 
says: "It is recorded that the party was a jovial one, 
and according to a somewhat late but apparently re- 
liable tradition when the great dramatist [Shakespeare 
of Stratford] was returning to New Place in the 
evenino-, he had taken more wine than was conducive 
to pedestrian accuracy. Shortly or immediately after- 
wards he was seized by the lamentable fever which 
terminated fatally on Friday, April 23rd." 

The story of his having to leave Stratford because 



Bacon is Shakespeare, 141 

he got into very bad company and became one of 
a gang of deer-stealers, has also very early support. 

We have already proved that Shakspeare could 
neither read nor write. We must also bear in mind 
that the Stratford man never had any reputation as an 
actor. 

Rowe, p. vi., thus writes: "His Name is Printed, 
as the Custom was in those Times, amongst those of 
the other Players, before some old Plays,* but without 
any particular Account of what sort of Parts he us'd to 
play; and tho' I have inquir'd I could never meet with 
any further Account of him this way than that the top 
of his Performance was the Ghost in his own Hamlet," 
The humblest scene-shifter could play this character, 
as we shall shew later. What about being manager of 
a Theatre? Shakspeare never was manager of a 
Theatre. What about being master of a Shakespeare 
company of actors? There never existed a Shake- 
speare company of actors. What about ownership 
of a Theatre? Dr. W^allace, says in the Times of Oct. 
2nd 1909, that at the time of his death Shakespeare 
owned one fourteenth of the Globe Theatre, and one- 
seventh of the Blackfriars Theatre. The profit of 
each of these was probably exceedingly small. The 
pleadings, put forth the present value at ^300 each, 
but as a broad rule, pleadings always used to set 
forth at least ten times the actual facts. In the 

* The appearance of Shakespeare's name in the list of Actors in Ben 
Jonson's plays and in the plays known as Shakespeare's was, of course, part of 
the plot to place Shakespeare's name in a prominent position while the pseu- 
donym had to be preserved. 



142 Bacon is Shakespeare* 

first case which the writer remembers witnessing in 
Court, the pleadings were loo oxen, lOO cows, loo 
calves, loo sheep, and loo pigs, the real matter 
in dispute being one cow and perhaps one calf. If 
we assume, therefore, that the total capital value of 
the holding of W. Shakespeare in both theatres taken 
together amounted to £60 in all, we shall probably, 
even then, considerably over-estimate their real worth. 
Now having disposed of the notion that Shakespeare 
was ever an important actor, was ever a manager of a 
Theatre, was ever the master of a company of actors, 
or was ever the owner of any Theatre, let us consider 
what Rowe means by the statement that the top of his 
performance was the Ghost in " Hamlet." 

This grotesque and absurd fable has for two 
hundred years been accepted as an almost indisputable 
historical fact. Men of great intelligence in other 
matters seem when the life of Shakespeare of Stratford- 
on-Avon is concerned, quite prepared to refuse to 
exercise either judgment or common sense, and to 
swallow without question any amount of preposterous 
nonsense, even such as is contained in the above 
statement. The part of the Ghost in the play of 
"Hamlet" is one of the smallest and most insiornifi- 
cant possible, and can be easily played by the most 
ignorant and most inexperienced of actors. All that is 
required is a suit of armour with somebody inside it, to 
walk with his face concealed, silently and slowly a few 
times across the stage. Then on his final appearance 
he should say a few sentences (84 lines in the Folio, 



Bacon ts Shakespeare, 143 

1623), but these can be and occasionally are spoken 
by some invisible speaker in the same manner as 
the word " Szvcar'' which is always growled out by 
someone concealed beneath the stage. No one knows, 
and no one cares, for no one sees who plays the 
part, which requires absolutely no histrionic ability. 
Sir Henry Irving, usually, I believe, put two men in 
armour upon the stage, in order to make the move- 
ments of the Ghost more mysterious. What then can 
be the meaning of the statement that the highest point 
to which the actor, Shakespeare, attained was to play 
the part of the Ghost in " Hamlet"? The rumour is 
so positive and so persistent that it cannot be dis- 
regarded or supposed to be merely a foolish jest or a 
senselessly false statement put forward for the purpose 
of deceiving the public. We are compelled, therefore, 
to conclude that there must be behind this fable some 
real meaning and some definite purpose, and we ask 
ourselves; What is the purpose of this puzzle? W'hat 
can be its real meaning and intention ? As usual, 
the Bacon key at once solves the riddle. The 
moment we realise that BACON is HAMLET, we 
perceive that the purpose of the rumour is to reveal to 
us the fact that the highest point to which the actor, 
Shakespeare, of Stratford-on-Avon, attained was to 
play the part of Ghost to Bacon, that is to act as his 
" Pseudonym," or in other w^ords, the object of the 
story is to reveal to us the fact that 

BACON IS SHAKESPEARE. 




CHAPTER XIII. 

Conclusion, with further evidences 
from title pages. 

Bacon had published eleven plays anonymously, when 
it became imperatively necessary for him to find some 
man who could be purchased to run the risk, which 
was by no means inconsi(k;rablc% of being supposed to be 
the author of these plays which included " Richard II." ; 
the historical play which so excited the ire of Queen 
Elizabeth, l^acon, as we have already pointed out, 
succeeded in discovering- a man who had little, if any, 
repute as an actor, but who bore a name which was 
called Shaxpur or Shackspere, which could be twisted 
into something that might be supposed to be the 
original of Bacon's pen name of .Shake- Speare. 

When in 1597 through the medium of powerful 
friends, by means of the bribe of a large sum of money, 
the gift of New Place, and the promise of a coat of 
arms, this man had been secured, he was at once sent 
away from London to the then remote village of Strat- 
ford-on-Avon, where scarcely a score of people could 
read, and none were likely to connect the name of 



Bacon is Shakespeare* 145 

their countryman, who they knew could neither read nor 
write and whom they called Shak or Shackspur, with 
"William Shakespeare" the author of plays the 
very names of which were absolutely unknown to any 
of them. 

Bacon, when Shackspur had been finally secured 
in 1597, brought out in the following year 1598 " Loues 
Labor's lost " with the imprint "newly corrected and 
augmented by W. Shakespere," and immediately he 
also brought out under the name of Francis Meres 
" Wits Treasury," containing the statement that eleven 
other plays, including "Richard II.," were also by this 
same Shakespeare who had written the poems of 
"Venus and Adonis " and " Lucrece." 

Francis Meres says: "As the soule of Euphorbus 
was thought to live in Pythagoras so the sweete wittie 
soule of Ovid lives in mellifluous and honytongued 
Shakespeare, witnes his ' Venus and Adonis,' his 
' Lucrece,' his sugred Sonnets among his private friends." 

The Sonnets were not printed, so far as is known, 
before 1609, and they as has been shown in Chapter 8 
repeat the story of Bacon's authorship of the plays. 

Bacon in 1598, as we have stated in previous pages, 
fully intended that at some future period posterity 
should do him justice. 

Among his last recorded words are those in which 
he commends his name and fame to posterity, " after 
many years had past." Accordingly we find, as we 
should expect to find, that when he put Shakespeare's 
name to "Loues Labor's lost" (the first play to 



146 Bacon ts Shakespeare* 

bear that name) Bacon took especial pains to secure 
that at some future date he should be recoofnised as 
the real author. Does he not clearly reveal this to 
us by the wonderful words with which the play of 
'* Loues Labor's lost " opens ? 

" Let Fame, that all hunt after in their lyues, 
Line registred vpon our brazen Tombes, 
And then grace vs, in the disgrace of death : 
When spight of cormorant deuouring Time, 
Thendeuour of this present breath may buy: 
That honour which shall bate his sythes keene 

edge, 
And make us heires of all eternitie." 

Bacon intended that " Spight of cormorant de- 
vouring Time "... honour .... should make [him] 
heir of all eternitie. 

Compare the whole of this grand opening passage 
of "Loues Labor's lost" with the lines ascribed to 
Milton in the 1632 edition of Shakespeare's plays 
when Bacon was [supposed to be] dead. No epitaph 
appeared in the 1623 edition, but in the 1632 edition 
appeared the following: — 

"An Epitaph on the admirable Dramaticke Poet, 
W. Shakespeare. 

What neede my Shakespeare for his honour'd bones, 
The labour of an Age in piled stones 
Or that his hallow'd Reliques should be hid 
Under a starrey-pointed Pyramid ? 



Bacon is Shakespeare, 147 

Deare sonne of IVIemory, u-reat Heire of Fame, 

What needst thou such dull witnesse of thy Name? 

Thou in our wonder and astonishment 

Hast built thy selfe a lasting Monument: 

For whil'st, to th' shame of slow-endevouring Art 

Thy easie numbers flow, and that each part, 

Hath from the leaves of thy unvalued Booke, 

Those Delphicke Lines with deepe impression tooke 

Then thou our fancy of her selfe bereaving. 

Dost make us Marble with too much conceivino-, 

And so Sepulcher'd, in such pompe dost lie 

That Kings for such a Tombe would wish to die." 

We have pointed out in Chapter 10 and in Chapter 
II how clearly in " Loues Labour's lost," on page 136 
of the folio of 1623, Bacon reveals the fact that he is the 
Author of the Plays, and we have shewn how the title 
pages of certain books support this revelation, beginning 
with the title page of the first folio of 1623 with its 
striking revelation given to us in the supposititious 
portrait which really consists of "a mask supported 
on two left arms." 

We may, however, perhaps here mention that in- 
structions are specially given to all who can understand, 
in the little book which is said to be a continuation of 
Bacon's "Nova Atlantis," and to be by R. H., Esquire, 
[whom no one has hitherto succeeded in identifying] . 

On Plate 34, Page 149, we give a facsimile of its 
Title Page which describes the book and states that it 
was printed in 1660. 



14^ Bacon is Shakespeare* 

In this book a number of very extraordinary inven- 
tions are mentioned such as submarine boats to blow 
up ships and harbours, and telegraphy by means of 
magnetic needles, but the portion to which we now 
wish to allude is that which refers to a "solid kind of 
Heraldry." This will be found on pp. 23-4, and reads 
as follows: — 

"We have a solid kind of Heraldry, not made 
specious with ostentative pydecoats and titular Atcheive- 
ments, which in Europe puzzel the tongue as well as 
memory to blazon, and any Fool may buy and wear for 
his money. Here in each province is a Register to 
record the memorable Acts, extraordinary qualities and 
worthy endowments of mind of the most eminent 
Patricians, Where for the Escutcheon of Pretence each 
noble person bears the Hieroglyphic of that vertue he is 
famous for. E.G. If eminent for Courage, the Lion; 
If for Innocence, the White Lamb; If for Chastity, a 
Turtle; If for Charity, the Sun in his full glory; If for 
Temperance, a slender V irgin, girt, having a bridle in 
her mouth; If for Justice, she holds a Sword in the 
right, and a Scales in the left hand; If for Prudence, she 
holds a Lamp; If for meek Simplicity, a Dove in her 
right hand; If for a discerning Judgment, an Eagle; If 
for Humility, she is in Sable, the head inclining and the 
knees bowing; If for Innocence, she holds a Lilie; If 
for Glory or Victory, a Garland of Bales; If for 
Wisdom, she holds a Salt; If he excels in Physic, an 
Urinal; If in Music, a Lute; If in Poetry, a Scrowle; If 
in Geometry, an Astrolabe; If in Arithmetic, a Table 




ew AtlantiSo 

Begun by the 

LORD VERULAM, 

V I s c o u K T St. Albans : 

AND 

Continued by R. H, Enquire. 

Jvhere'm is fet forth 





O F 

MONARCHICAL GOVERNMENT. 

WITH 

A Pleafj^nt intermixture of divers rare Inventions^ 

and wholfoni Cuftoms, fit to be introduced 

into all KINGDOMS, STATES, and 

COMMON-WEALTHS. 

Nimpmi LiherldS gratlor ex tat 

Quamfiib Regepio. 



LONDON^ 

Printed for John Crooke at the Signe of the Ship in 
St, Pads Church- vard, 1660, 



Plate XXXIV. 

Facsimile Title Page. 



Plate XXXIV. 



Facsimile of Title Page of New Atlantis, 
continued by r. h., esquire, 1660. 



Bacon is Shakespeare* 151 

of Cyphers; If in Grammar, an Alphabetical Table; If 
in Mathematics, a Book; If in Dialectica she holds a 
Serpent in either hand; and so of the rest; the 
Pretence being ever paralel to his particular Excellency. 
And this is sent him cut in brass, and in colours, as he 
best phansies for the Field; only the Hieroglyphic is 
alwayes proper." 

These references to a solid kind of Heraldry refer 
to the title pages and frontispieces of books which may 
be characterised broadly as Baconian books, and 
examples of every one of them can be found in books 
extending from the Elizabethan period almost up to the 
present date. 

We place Plate 35, Page 153, before the reader, 
which is a photo enlargement of the title page of 
Bacon's " History of Henry VII.," printed in Holland, 
1642, the first Latin edition (in i2mo). 

Here is seen the Virgin holding the Salt, shewing 
the Wisdom of the Author. In her right hand, which 
holds the Salt, she holds also two other objects which 
seem difficult to describe. They represent "a bridle 
without a bit," in order to tell us the purpose of the 
Plate is to unmuzzle Bacon, and to reveal to us his 
authorship of the plays known as Shakespeare's. 

But in order to prove that the objects represent a 
bridle without a bit, we must refer to two emblem 
books of very different dates and authorship. 

First we refer our readers to Plate 36, Page 156, 
which is a photo enlargement of the figure of Nemesis 
in the first (February 1531) edition of Alciati's Emblems. 



152 Bacon is Shakespeare* 

The picture shews us a hideous figure holding in her 
left hand a bridle with a tremendous bit to destroy 
false reputations, improba verba. 

We next put before our readers the photo repro- 
duction of the fiorure of Nemesis, which will be found 
on page 484, of Baudoin's Emblems, 1638. Baudoin 
had previously brought out in French a translation of 
Bacon's " Essays," which was published at Paris in 
1 62 1, In the preface to his book of Emblems he 
tells us that he was induced to undertake the task by 
BACON (printed in capital letters), and by Alciat 
(printed in ordinary type). In this book of Emblems, 
Baudoin, on page 484, placed his figure of Nemesis 
opposite to Bacon's name. If the reader carefully 
examines Plate 37 he will perceive that it is no longer a 
grinning hideous figure, but is a figure of FAME, and 
carries a bridle in which there is found to be no sign of 
any kind of bit, because the purpose of the Emblem is to 
shew that Nemesis will unmuzzle and glorify Bacon. 

In order to make the meaning of Baudoin's 
Emblem still more emphatically explicit a special 
Rosicrucian Edition of the same date, 1638, was 
printed, in which Baudoin's Nemesis is printed "upside 
down ' '; we do not mean bound upside down, but printed 
upside down, for there is the printing of the previous 
page at the back of the engraving. We have already 
alluded on page 113 to the frequent practice of the 
upside down printing of ornaments and engravings when 
a revelation concerning Bacon's connection with Shake- 
speare is afforded to us. 



Liiiitur^ 




I/VG.BATAVOR. 
Apud Tranc.Hackium 



Plate XXXV. 

Facsimile Title Page. 



Plate XXXV. 

Facsimile Title Page of Bacon's Henry VII., 1642. 



Plate XXXVI. 

Nemesis," from Alciati's Emblems, 1531. 




Plate XXXVI. 

'Nemesis," from Alciati's Emblems, 1531. 




Plate XXXVII. 

Page 484 from Baudoin's Emblems, 1638. 



Plate XXXVII. 

Page 484 from Baudoin's Emblems, 1638. 



Bacon is Shakespeare* 159 

The writer possesses an ordinary copy of Baudoin's 
Emblems, 1638, and also a copy of the edition with 
the Nemesis printed upside down which appears 
opposite Bacon's name. The copy so specially printed 
is bound with Rosicrucian emblems outside. 

The reader, by comparing- Baudoin's Nemesis, 
Plate T^J, and the Tide Page of Henry VII., Plate 35, 
will at once perceive that the objects in the right hand 
of the Virgin holding- the salt box are correctly 
described as representing a " bridle without a bit," 
and he will know that a revelation concerning Bacon 
and Shakespeare is going to be given to him. Now we 
will tell him the whole story. On the right of the 
picture, Plate 35 (the reader's left) we see a knight in 
full armour, and also a philosopher who is, as the roses 
on his shoes tell us, a Rosicrucian philosopher. On the 
left on a lower level is the same philosopher, evidently 
Bacon, but without the roses on his shoes. He is 
holding the shaft of a spear with which he seems to stop 
the wdieel. By his side stands what appears to be a 
Knight or Esquire, but the man's sword is girt on the 
wrong side, he wears a lace collar and lace trimming 
to his breeches, and he wears actor's boots (see Plate 28, 
Page 118, and Plate 132, Page 127). 

We are therefore forced to conclude that he is an 
Actor. And, lo, he wears but ONE SPUR. He is 
therefore a Shake-spur Actor (on Plate 27, Page 115, 
is shewn a Shake-spur on horseback). This same 
Actor is also shaking the spear which is held by the 
philosopher. He is therefore also a Shake-spear Actor. 



i6o Bacon is Shakespeare* 

And now we can read the symbols on the wheel which 
is over his head: the "mirror up to nature," "the 
rod for the back of fools," the "basin to hold your 
guilty blood ("Titus Andronicus," v. 2), and "the 
fool's bawble." On the other side of the spear: the 
spade the symbol of the workman, the cap the symbol 
of the gentleman, the crown the symbol of the peer, 
the royal crown, and lastly the Imperial crown. Bacon 
says Henry VII, wore an Imperial crown. Quite 
easily now we can read the whole story. 

The " History of Henry VII.," though in this picture 
displayed on a stage curtain, is set forth by Bacon 
in prose while the rest of the Histories of England 
are given to the world by Bacon by means of his 
pseudonym the Shake-spear Actor at the Globe to 
which that figure is pointing. 

Plain as the plate appears to the instructed eye 
it seems hitherto to have failed to reveal to the 
2/;^instructed its clear meaning that 

BACON IS SHAKE-SPEARE. 



CHAPTER XIV. 

Postscriptum. 

Most fortunately before going to press we were able 
to see at the Record Office, Chancery Lane, London, 
the revealing documents recently discovered by Dr. 
Wallace and described by him in an article published 
in the March number of Hai'pcr s Monthly Magazine, 
under the title of " New Shakespeare Discoveries," 
The documents found by Dr. Wallace are extremely 
valuable and important. They tell us a few real facts 
about the Householder of Stratford-upon-Avon, and 
they effectually once and for all dispose of the idea 
that the Stratford man was the Poet and Dramatist, — 
the or-reatest o-enius of all the ao^es. 

In the first place they prove beyond the possibility 
of cavil or question that " Shakespeare, of Stratford- 
upon-Avon, Gentleman." was totally unable to write 
even so much as any portion of his own name. It 
is true that the Answers to the Interrogatories which 
are given by "William Shakespeare, of Stratford-upon- 
Avon, Gendeman," are marked at the bottom " Wilm 
Shaxp'," but this is written by the lawyer or law clerk, 
in fact " dashed in" by the ready pen of an extremely 



1 62 Bacon is Shakespeare* 

rapid writer. A full size photographic facsimile of this 
"so-called" signature, with a portion of the document 
above it, is given in Plate t,'$>, Page 164, and on the 
opposite page, in Plate 39, is shewn also in full size 
facsimile the real .signature cf Daniell Nicholas with 
a portion of the document, which he signed, above it. 

In order that the reader may be able more easily 
to read the law writing we give on page 167, in modern 
type, the portion of the document photographed above 
the name Wilm Shaxp'', and on the same page a modern 
type transcript of the document above the signature of 
Daniell Nicholas. 

Any expert in handwriting will at once perceive that 
"Wilm Shaxp''" is written by the same hand that wrote 
the lower portion of Shakespeare's Answers to Interro- 
gatories, and by the same hand that wrote the other 
set of Answers to Interrogatories which are signed very 
neatly by " Daniell Nicholas." 

The words " Daughter Marye " occur in the 
portion photographed of both documents, and are 
evidently written by the same law writer, and can be 
seen in Plate 38, Page 164, just above the "Wilm 
Shaxp'," and in Plate 39, Page 165, upon the fifth line 
from the top. The name of " Shakespeare " also occurs 
several times in the "Answers to Interrogatories." One 
instance occurs in Plate 39, Page 165, eight lines above 
the name of Daniell Nicholas, and if the reader com- 
pares it with the "Wilm Shaxp''" on Plate 38, Page 
164, it will be at once seen that both writings are by 
the same hand. 



Plate XXXVIII. 



Full Size Facsimile of part of "Shakespeare's Answers to 

Interrogatories," discovered by Dr. Wallace 

IN THE British Record Office. 



/ ^ 











■ // /> "X 








/ 

Plate XXXVIII. 

Full Size Facsimile of tart of "Shakespeare's Answers to 

Interrogatories," discovered by Dr. Wallace in the 

British Record Office. 




Plate XXXIX. 

Full Size Facsimilk of part of Daniell Nicholas' "Answers to 

INTKRROGATOKIES," DISCOVERED BY DR. WALLACE IN THE 

British Record Office. 



Plate XXXIX. 

Full Size Facsimile of part of Daniell Nicholas' "Answers to 

Interrogatories, " discovered by Dr. Wallace in the 

British Record Office. 



Bacon is Shakespeare, 167 

portion 
What c'tayne ^ he 

. pit twoe hundered pounds 
decease. But sayth that 
his house. And they had amo 
about their marriadge w'''' 
nized. And more he can 
ponnt saythe he can saye 
of the same Interro for 
cessaries of houshould stufife 
his daughter Marye 

WILM SHAXP« 

Type Facsimile of Plate XXXVIII. 



Interr this depnnt sayth 
that the deft did beare 
ted him well when he 
by him the said Shakespeare 
his daughter Marye 
that purpose sent him 
swade the pit to the 
solempnised uppon pmise of 
nnt. And more he can 
this deponnt sayth 
is deponnt to goe w'*" 

DANIELL NICHOLAS. 

Tyi'E Facsimile ok I'late XXXIX. 



1 68 Bacon is Shakespeare, 

Answers to Intcrrog-atories are required to be 
sig'ned ])y the deponents. In the case of " Johane 
Johnsone," who could not write her name, the depo- 
sitions are signed with a very neat cross which was 
her mark. In the case of " Wilham Shakespeare, 
of Stratford-upon-Avon, (ientleman," who was also 
unable to write his name, they are signed with a 
dot which might cpiite easily be mistaken for an 
accidental blot. Our readers will see this mark, which 
is not a l)lot but a purposely made mark, just under 
"Wilm Shaxp^" 

Dr. Wallace reads the "so-called" signature as 
Willm Shaks, but the Christian name is written cjuite 
clearly Wilm. And we should have supposed that 
any one possessing even the smallest acquaintance 
with the law writing of the period must have known 
that the scroll which looks like a flourish at the end 
of the surname is not and cannot be an " s," but is 
most certainly without any possibility of question a 
" p," and that the dash through the "p" is the usual 
and accepted abbreviation for words ending in " per," 
or "peare," etc.* Then how ought we, nay how are 

* Facsimiles of law clerks' writing of the name "John Shakespeare," are 
given in Plate 40, Page 169. They are taken from llalliwell-Phillipps' "Out- 
lines of the life of Shakespeare," 1889, vol. 2, pp. 233 and 236. In the first two 
examples the name is written " Shakes," followed by an exactly similar .scroll 
and dash to complete the name. In vSaunders' "Ancient Handwriting," 1909, 
page 24, we are shown that such a " scroll and dash " represents " per " "par," 
and " por " ; and in Wright's "Court Handwriting restored" we find that in 
the most perfectly formed script a "p" with a dash through the lower part 
similarly represented "per," "par," and "por," this is repeated in Thoyts' 
" How to decipher and study old documents," and the same information is given 
in numerous other works. There is therefore no possible excuse for Dr. 
Wallace's blundering. 



Bacon is Shakespeare. 



169 



we, compelled to rcatl the so-called sii^nature? The 
capital S is (juite clear, so also is the "h," then the; 
next mass of strokes all ^'o to makt; up simply 
the letter "a," Then we come to the blotted letter, 



•^ -f&H<ym^^^j^jcCj^<^^&S {y^^ 



/W//7>^ 



f tf^(jf <^ 



^^ ^P*^^W ^ 



Plate XL. 

Facsimii.ks ok Law Ci.k.rks' Writing of the name "Shakicspkakk 

FROM HALI.IWELL-PHII.LIPI'S' "OUTLINES OK THE I.IKE OF 
SlIAKESrEARK," Vol,. 2, 1889. 



this is not and cannot he "kes" or "ks" Ix-causc; in 
the law writing- of the period every hotter "s" (ex- 
cepting,^ "s" at the end of a word) was written as a 
very long' letter. This may readily be seen in the 
w^ord Shakespeare which occurs in Plate 39 on the 
eiirhth line above the signature of Daniell Nicholas. 



170 Bacon is Shakespeare, 

What then is this blotted letter if it is not kes or ks? 
The answer is quite plain, it is an "X," and a careful 
examination under a very strong magnifying glass will 
satisfy the student that it is without possibility of 
question correctly described as an "X."* Yes, the law 
clerk marked the Stratford Gentleman's "Answers to 
Interrogatories" with the name " Wilm Shaxp^" Does 
there exist a Stratfordian who will contend that 
William Shakespeare, of Stratford-upon-Avon, Gentle- 
man, if he had been able to write any portion of his 
name would have marked his depositions Wilm 
Shaxp'? Does there exist any man who will venture 
to contend that the great Dramatist, the author of the 
Immortal plays, would or could have so signed his 
name? We trow not; indeed, such an abbreviation 
would be impossible in a legal document in a Court 
of Law where depositions are required to be signed 
in full. 

With reference to the other so-called Shakespeare's 
signatures we must refer the reader to our Chapter III. 
which was penned before these "New Shakespeare 
Discoveries" were announced. And it is perhaps 
desirable to say that the dot in the "W^" which appears 
in two of those "so-called" signatures of Shakespeare, 
and also in the one just discovered, is part of the regular 
method of writing a " W " in the law writing of the period. 
In the Purchase Deed of the property in Blackfriars, of 
March loth 161 2- 13, mentioned on page 38, there are 

*A facsimile example of the way in which the law clerk wrote " Shaxper " 
is shewn in the third line of Plate 40, Page 169, where it will be seen that the 
writer uses a similar " X. " 



Bacon is Shakespeare, 171 

in the first six lines of the Deed seven " W's," in each 
of which appears a dot. And in the Mortgage Deed of 
March iith 1612-13, there are seven "W's" in the first 
^ five hnes, in each of which appears a similar dot. The 
above-mentioned two Deeds are in the handwriting- of 
different law clerks. 

It may not be out of place here again to call our 
readers' attention to the fact that law documents are 
required to be signed " in full," and that if the very 
rapid and ready writer who wrote "Wilm Shaxp""" 
were indeed the Gentleman of Stratford it would have 
been quite easy for such a good penman to have 
written his name in full ; this the law writer has not 
done because he did not desire to forge a signature 
to the document, but desired only to indicate by an 
abbreviation that the dot or spot below was the mark 
of William Shakespeare of Stratford-upon-Avon. 

Thus the question, whether William Shakespeare, 
of Stratford-upon-Avon, Gentleman, could or could 
not write his name is for ever settled in the negative, 
and there is no doubt, there can be no doubt, upon 
this matter. 

Dr. Wallace declares " I have had no theory to 
defend and no hypothesis to propose." But as a matter 
of fact his whole article falsely assumes that " William 
Shakespeare, of Stratford-upon-Avon, Gentleman," 
who is referred to in the documents, is no other than 
the great Dramatist who wrote the Immortal plays. 
And the writer can only express his unbounded 
wonder and astonishment that even so ardent a 



172 Bacon is Shakespeare* 

Stratfordian as Dr. Wallace, after studying the 
various documents which he discovered, should 
have ventured to say : 

" Shakespeare was the third witness examined. 
Although, forsooth, the matter of his statements 
is of no high literary quality and the manner is 
lacking in imagination and style, as the Rev. 
Joseph Green in 1747 complained of the will, we 
feel none the less as we hear him talk that we 
have for the first time met Shakespeare in the 
flesh and that the acquaintance is good." 
As a matter of fact none of the words of any of 
the deponents are their own words, but they are the 
words of the lawyers who drew the Answers to the 
Interrogatories. The present writer, when a pupil in 
the chambers of a distinguished lawyer who afterwards 
became a Lord Justice, saw any number of Interroga- 
tories and Answers to Interrogfatories, and even assisted 
in their preparation. The last thing that any one of 
the pupils thought of, was in what manner the client 
would desire to express his own views. They drew the 
most plausible Answers they could imagine, taking care 
that their words were sufficiently near to the actual 
facts for the client to be able to swear to them. 

The so-called signature " Wilm ShaxpV' is written 
by the lawyer or law clerk who wrote the lower part of 
Shakespeare's depositions, and this same clerk also 
wrote the depositions above the name of another witness 
who really signs his own name, viz., " Daniell Nicholas." 
The only mark William Shakespeare put to the 



Bacon is Shakespeare* 



/o 



document was the blot above which the abbreviated 
name " Wihn Shaxp'" was written by the lawyer 
or law clerk. 

The documents shew that Shakespeare of Stratford 
occasionally "lay" in the house in Silver Street, and 
Ben Jonson's words in "The Staple of News" (Third 
Intermeane ; Act iii.), to which Dr. Wallace refers 
viz., that " Siluer-Streete " was " a good seat for a 
Vsurer" are very informing, because as we have before 
pointed out the Stratford man was a cruel usurer. 

Dr. Wallace's contention that Mountjoy, the wig- 
maker, of the corner house in Silver Street where 
Shakespeare, of Stratford-upon-Avon, Gentleman, 
occasionally slept, w^as the original of the name of the 
Herald in Henry V* really surpasses, in want of know- 
ledge of History, anything that the writer has ever 
previously encountered, and he is afraid that it really 
is a measure of the value of Dr. Wallace's other 
inferences connectinof the illiterate Stratford Rustic 
with the great Dramatist who " took all knowledge 
for his province," 

Dr. Wallace's "New Shakespeare Discoveries" 
are really extremely valuable and informing, and very 
greatly assist the statements which the writer has 
made in the previous chapters, viz., that the Stratford 
Householder was a mean Rustic who was totally 



* Holinshed's Chronicles (1557) state that " Montioy, king-at-arnis, was 
sent to the King of England to defie him as the enemie of France, and to tell 
him that he should shortlie have battell." Moreover, "Montioy" is not the 
personal name, but the official title of a Herald of France, just as " Norroy " 
is not a personal name, but the official title of one of the three chief Heralds of 
the College of Arms of England. 



174 Bacon is Shakespeare, 

unable to read or to write, and was not even an actor 
of repute, but was a mere hanger-on at the Theatre. 
Indeed, the more these important documents are 
examined the clearer it will be perceived that, as Dr. 
Wallace points out, they shew us that the real William 
Shakespeare, of Stratford-upon-Avon, gentleman, was 
not the "Aristocrat," whom Tolstoi declares the 
author of the plays to have been, but was in fact a 
man who resided [occasionally when he happened to 
revisit London] " in a hardworking family," a man who 
was familiar with hairdressers and their apprentices, 
a man who mixed as an equal among tradesmen in a 
humble position of life, who referred to him as " One 
Shakespeare." These documents prove that " One 
Shakespeare " was not and could not have been the 
"poet and dramatist." In a word these documents 
strongly confirm the fact that 

BACON IS SHAKESPEARE. 



Plate XLI. 

Facsimile of the Dedication of Powell's "Attourney's 
Academy," 1630. 




TRVE NOBILITr, 

AND TRYDE LEARNING, 
To no ^SMomtaine for Eminence » 

not Supportmenc for Height, Fi^ a n c is^ 
LotdFemlamy and VifcountSt^ 

<^ Glue me leaueto pull die Curtaine by, 
^*^That clouds thy Worth in fuch obfcurity^ 
Good Seneca Jksiy but a while thy bleeding^ 
T'^ccept what I receiued at thy Reading: 
Here I prefent it lo a folemne Aray ne. 
And thus I plucj(t the Curtay ne backe againe^ 

thefam^ 
Thomas Pow£&l« 

Plate XLI. 

Facsimile of the Dedication of Powell's "Attourney's 
Academy," 1630. 



CHAPTER XV. 

Appendix. 

The facsimile shewn in Plate 41, Page 176, is from 
"The Attourney's Academy," 1630. The reader will 
perceive that the ornamental heading is printed upside 
down. In the ordinary copies it is not so printed, but 
only in special copies such as that possessed by the 
writer; the object of the upside-down printing being, 
as we have already pointed out in previous pages, to 
reveal, to those deemed worthy of receiving it, some 
secret concerning Bacon. 

In the present work, while we have used our utmost 
endeavour to place in the vacant frame, the true 
portrait of him who was the wonder and mystery of 
his own age and indeed of all ages, we have never 
failed to remember the instructions given to us in 

" King Lear": — 

" Have more than thou showest. 
Speak less than thou knowest." 
Our object has been to supply exact and positive 

information and to confirm it by proofs so accurate 

and so certain as to compel belief and render any 

effective criticism an impossibility. 



N 



178 Bacon is Shakespeare, 

It may however not be without advantage to those 
who are becoming convinced against their • will, if we 
place before them a few of the utterances of men of 
the greatest distinction who, without being furnished 
with the information which we have been able to afford 
to our readers, were possessed of sufficient intelligence 
and common sense to perceive the truth respecting the 
real authorship of the Plays. 

Lord Palmerston, b. 1784, d. 1865. 

Viscount Palmerston, the great British statesman, 
used to say that he rejoiced to have lived to see three 
things — the re-integration of Italy, the unveiling of the 
mystery of China and Japan, and the explosion of the 
Shakespearian illusions. — From the Diary of the Right 
Hon. Mount- Steivart E. Grant. 

Lord Houghton, b. 1809. d. 1885. 
Lord Houghton (better known as a statesman 
under the name of Richard Monckton Milnes) reported 
the words of Lord Palmerston, and he also told Dr. 
Appleton Morgan that he himself no longer considered 
Shakespeare, the actor, as the author of the Plays. 

Samuel Taylor Coleridge, b. 1772, d. 1834. 

Samuel Taylor Coleridge, the eminent British 
critic and poet, although he assumed that Shakespeare 
was the author of the Plays, rejected the facts of his 
life and character, and says: "Ask your own hearts, 
ask your own common sense, to conceive the possibility 
of the author of the Plays being the anomalous, the 
wild, the irregular genius of our daily criticism. 



Bacon is Shakespeare* 179 

What! are we to have miracles in sport? Does God 
choose idiots by whom to convey divine truths to 
man: 

John Bright, b. 181 1, d. 1889. 
John Bright, the eminent British statesman, 
declared: "Any man that believes that Williain 
Shakespeare of Stratford wrote Hamlet or Lear is a 
fool." In Its issue of March 27th 1889, the Rochdale 
Observer reported John Bright as scornfully angry with 
deluded people who believe that Shakespeare wrote 
Othello. 

Ralph Waldo Emerson, b. 1803, d. 1882. 
Ralph Waldo Emerson, the great American 
philosopher and poet, says: "As long as the question 
is of talent and mental power, the world of men has 

not his equal to show The Egyptian verdict 

of the Shakespeare Societies comes to mind that he 
was a jovial actor and manager. I cannot marry this 
fact to his verse." — Emerson s Works. Londoji, iS8j. 
Vol. ^, /. 420. 

John Greenleaf Whittier, b. 1807, d. 1892. 

John Greenleaf Whittier, the American poet, 
declared: "Whether Bacon wrote the wonderful plays 
or not, I am quite sure the man Shakspere neither did 
nor could." 

Dr. W. H. Furness, b. 1802, d. 1891. 
Dr. W. H. Furness, the eminent American scholar, 
who was the father of the Editor of the Variorum 



i8o Bacon is Shakespeare* 

Edition of Shakespeare's Works, wrote to Nathaniel 
Holmes in a letter dated Oct. 29th 1866: " I am one 
of the many who have never been able to bring the life 
of William Shakespeare and the plays of Shakespeare 
within planetary space of each other. Are there any 
two things in the world more incongruous ? Had the 
plays come down 10 us anonymously, had the labor of 
discovering the author been imposed upon after genera- 
tions, I think we could have found no one of that day 
but F. Bacon to whom to assign the crown. In this 
case it would have been resting now on his head by 
almost common consent." 

Mark Twain, b. 1835, d. 19 10. 
Samuel Langhorne Clemens, who wrote under the 
pseudonym of Mark Twain, was, — it is universally 
admitted, — one of the wisest of men. Last year (1909) 
he published a little book with the title, " Is Shake- 
speare dead ? " In .this he treats with scathing scorn 
those who can persuade themselves that the immortal 
plays were written by the Stratford clown. He writes, 
pp. 142-3 : " You can trace the life histories of the 
whole of them [the world's celebrities] save one — far 
and away the most colossal prodigy of the entire 
accumulation — Shakespeare. About him you can find 
out nothing. Nothing of even the slightest importance. 
Nothing worth the trouble of stowing away in your 
memory. Nothing that even remotely indicates that 
he was ever anything more than a distinctly common- 
place person — a manager,* an actor of inferior grade, a 

* He never was a manager. 



Bacon is Shakespeare* iSi 

small trader in a small village that did not regard him 
as a person of any consequence, and had forgotten him 
before he was fairly cold in his grave. We can go to 
the records and find out the life-history of every 
renowned racc-horsc of modern times — but not Shake- 
speare's ! There are many reasons why, and they 
have been furnished in cartloads (of guess and con- 
jecture) by those troglodytes; but there is one that is 
worth all the rest of the reasons put together, and is 
abundantly sufficient all by itself — he hadiit any history 
to record. There is no way of getting around that 
deadly fact. And no sane way has yet been discovered 
of getting round its formidable significance. Its quite 
plain significance — to any but those thugs (I do not 
use the term unkindly) is, that Shakespeare had no 
prominence while he lived, and none until he had been 
dead two or three generations. The Plays enjoyed 
high fame from the beginning." 

Prince Bismarck, b. 1815, d. 1898. 
We are told in Sydney Whitman's " Personal 
Reminiscences of Prince Bismarck," pp. 135-6, that in 
1892, Prince Bismarck said, "He could not understand 
how it were possible that a man, however gifted with 
the intuitions of genius, could have written what was 
attributed to Shakespeare unless he had been in touch 
with the great affairs of state, behind the scenes of 
political life, and also intimate with all the social 
courtesies and refinements of thought which in Shaks- 
peare's time were only to be met with in the highest 
circles. 



1 82 Bacon is Shakespeare* 

" It also seemed to Prince Bismarck incredible 
that the man who had written the greatest dramas in 
the world's literature could of his own free will, whilst 
still in the prime of life, have retired to such a place as 
Stratford-on-Avon and lived there for years, cut off 
from intellectual society, and out of touch with the 
world." 

The foregoing list of men of the very greatest 
ability and intelligence who were able clearly to 
perceive the absurdity of continuing to accept the 
commonly received belief that the Mighty Author of 
the immortal Plays was none other than the mean 
rustic of Stratford, might be extended indefinitely, but 
the names that we have mentioned are amply sufficient 
to prove to the reader that he will be in excellent 
company when he himself realises the truth that 

BACON IS SHAKESPEARE. 



Bacon is Shakespeare, 183 



A NEUER WRITER, TO AN EUER 
READER . NEWES. 

Eternall reader, you haue heere a new play, 
neuer stal'd with the Stage, neuer clapper-clawd with 
the palmes of the vulg-er, and yet passing full of the 
palme comicall; for it is a birth of your braine, that 
neuer under-tooke any thing commicall, vainely: And 
were but the vaine names of commedies changde for 
the titles of Commodities, or of Playes for Pleas; you 
should see all those grand censors, that now stile them 
such vanities, flock to them for the maine grace of their 
grauities: especially this authors Commedies, that are 
so fram'd to the life, that they serve for the most 
common Commentaries, of all the actions of our hues 
shewing such a dexteritie, and power of witte, that the 
most displeased with Playes are pleasd with his 

Commedies 

And beleeue this, that when hee is gone, and his 
Commedies out of sale, you will scramble for them, 
and set up a new English Inquisition. Take this for a 
warning, and at the perrill of your pleasures losse, and 
Judgements, refuse not, nor like this the lesse, for not 
being sullied, with the smoaky breath of the multitude. 

From the Introduction of " The Famous Historie of Troylus and Cresseid, by 
William Shakeipcare," ibog. This play as the above Introduction says was never acted. 



PROMUS 



FOURMES AND ELEGANCYES 



FRANCIS BACON. 




PREFACE TO PROMUS. 

To these Essays I have attached a carefully collated 
reprint of Francis Bacon's *' Promus of Formularies 
and Elegancies," a work which is to be found in 
Manuscript at the British Museum in the Harleian 
Collection (No. 7,017.) 

The folios at present known are numbered 
from. 83 to 132, and are supposed to have been 
written about a.d. 1594-6, because folio 85 is dated 
December 5th i 594, and folio 114, January 27 1595. 

The pagination of the MS. is modern, and 
was inserted for reference purposes when the Promus 
was bound up in one volume together with certain 
other miscellaneous manuscripts which are numbered 
from I to 82, and from 133 onwards. 

A facsimile of a portion of a leaf of the 
Promus MS., folio 85, is given on pages 190-91, in 
order to illustrate Bacon's handwriting, and also to 
shew his method of marking the entries. It will be 
perceived that some entries have lines //// drawn 



1 88 Preface to Promas* 

across the writing, while upon others marks similar 
to the capital letters T, F, and A are placed at the 
end of the lines. But as the Promus is here printed 
page for page as in the manuscript, I am not raising 
the question of the signification of these marks, 
excepting only to say they indicate that Bacon made 
considerable use of these memoranda. 

"Promus" means larder or storehouse, and 
these " Fourmes, Formularies and Elegancy es" appear 
to have been intended as a storehouse of words 
and phrases to be employed in the production of 
subsequent literary works. 

Mrs. Pott was the first to print the "Promus," 
which, with translations and references, she published 
in 1883. In her great work, which really may 
be described as monumental, Mrs. Pott points out, 
by means of some thousands of quotations, how 
great a use appears to have been made of the 
"Promus" notes, both in the acknowledged works 
of Bacon and in the plays which are known as 
Shakespeare's. 

Mrs. Pott's reading of the manuscript was 
extremely good, considering the great difficulty 
experienced in deciphering the writing. But I 



Preface to Promus, 189 

thought it advisable when preparing a reprint to 
secure the services of the late Mr. F. B. Bickley, 
of the British Museum, to carefully revise the whole 
of Bacon's "Promus." This task he completed 
and I received twenty-four proofs, which I caused 
to be bound with a title page in 1898. There 
were no other copies, the whole ot the type having 
unfortunately been broken up. The proof has 
again been carefully collated with the original manu- 
script and corrected by Mr. F. A. Herbert, of the 
British Museum, and I have now reprinted it here, 
as I am satislied that the more Bacon's Promus — the 
Storehouse — is examined, the more it will be recog- 
nised how large a portion of the material collected 
therein has been made use of in the Immortal Plays, 
and I therefore now issue the Promus with the 
present essay as an additional proof of the identity 
of Bacon and Shakespeare. 

Edwin Durning-Lawrence. 



4 



^ 

^ 

^ 



^ 






^ 



5^ O^ 




,Vi 



4i 





4-^^^ 
'^>i 









ST 







X 5 




Plate XLIII. 



Portrait of Francis Bacon, from a Painting by Van Somer, 
formerly in the collection of the duke of fife. 



Promus of Formularies. 

Folio Sj, front. 
Ingenuous honesty and yet with opposition and 

strength. 
Corni contra croci good means against badd, homes 

to crosses. 
In circuitu ambulant impij ; honest by antiperistasis. 
Siluj a bonis et dolor mens renouatus est. 
Credidj propter quod locutus sum. 
Memoria justi cum laudibus at impiorum nomen 

putrescet 
Justitiamque omnes cupida de mente fugarunt. 
Non recipit stultus verba prudently nisi ea dixeris 

quae uersantur in corde ejus 
Veritatem eme et noli vendere 
Qui festinat ditari non erat insons 
Nolite dare sanctum canibus. 
Qui potest capere capiat 
Quoniam Moses ad duritiam cordis uestri permisit 

uobis 
Obedire oportet deo magis quam hominibus. 
Et vniuscuj usque opus quale sit probabit ignis 
Non enim possumus aliquid aduersus ueritatem sed 
pro ueritate. 



194 Promus of Formiilciries, 

Folio c5j, front — contimicd. 

For which of y^ good woorkes doe yow stone me 
Quorundam hominum peccata prcEcedunt ad judi- 
cium quorundam sequuntur 
Bonum certamen certauj 
Sat patriae priamoque datum. 
IHcet obruimur numero. 
Atque animis illabere nostris 
Hoc praetexit nomine culpam. 
Procul 6 procul este prophani 
Magnanimj heroes nati mehoribus annis 



Promus of Formularies* 195 

Folio 8j, back. 
Ille mihi ante alios fortunatusque laborum 
Egregiusque animi qui ne quid tale videret 
Procubuit moriens et humum semel ore momordit 
Fors et uirtus miscentur in vnum. 
Non ego natura nee sum tarn callidus vsu. 

aeuo rarissima nostro simplicitas 
Viderit vtilitas ego cepta fideliter edam. 
Prosperum et foelix scelus, virtus vocatur 

Tibi res antiquae laudis et artis 
Inuidiam placare paras uirtute relicta. 
Iliacos intra muros peccatur et extra 
Homo sum human] a me nil alienum puto. 
The grace of God is woorth a fayre 
Black will take no other hue 
Vnum augurium optimum tueri patria. 
Exigua res est ipsa justitia 
Dat veniam coruis uexat censura columbas. 
Homo hominj deus 

Semper virgines furiae ; Cowrting a furye 
Di danarj di senno et di fede 
Ce ne manco che tu credj 
Chi semina spine non vada discalzo 
Mas vale a quien Dios ayuda que a quien mucho 

madruga. 
Quien nesciamente pecca nesciamente ua al infierno 
Quien ruyn es en su uilla 
Ruyn es en Seuilla 
De los leales se hinchen los huespitales 



196 Promus of Formularies, 

Folio c£/, front. 

We may doe much yll or we doe much woorse 

Vultu laeditur ssepe pietas. 

DifficiUa quae pulchra 

Conscientia mille testes, 

Summum Jus summa injuria 

Nequicquam patrias tentasti lubricus artes. 

Et monitj meHora sequamur 

Nusquam tuta fides 

Discite Justitiam moniti et non temnere diuos 

Quisque suos patimur manes. 

Extinctus amabitur idem. 

Optimus ille animi vindex Isedentium pectus 

Vincula qui rupit dedokiitque semel. 

Virtue Hke a rych geme best plaine sett 

Quibus bonitas a genere penitus insita est 

ij iam non maH esse nokmt sed nesciunt 
Oeconomicae rationes pubHcas peruertunt. 
Divitise Impedimenta virtutis; The bagage of 

vertue 
Habet et mors aram. 
Nemo virtuti invidiam reconciiiauerit praeter 

mort . . . 
Turpe proco ancillam sollicitare Est autem 

virtutis ancilla laus. 
Si suum cuique tribuendum est certe et venia 

humanitati 
Qui dissimulat Hber non est 
Leue efficit jugum fortunae jugum amicitiae 
Omnis medecina Innouatio 



Promus of Formularies^ 197 

Folio 8^, front — continued. 

Auribus mederi difficillimum, 

Suspitio fragilem fidem soluit fortem incendit 

Pauca tamen suberunt priscae vestigia fraudis 

Dulce et decorum est pro patria mori 

Mors et fugacem persequitur virum. 

Danda est hellebori multo pars maxima avar [is] 



u 



198 Promus of Formularies* 

Folio 84, back. 

Minerall wytts strong poyson and they be not 
W corrected 

< aquexar. 

p^ Ametallado fayned inameled. 

g Totum est majus sua parte against factions and 
^ priuate profite 

Galens compositions not paracelsus separations 

Full musike of easy ayres withowt strange Concordes 
and discordes 

In medio non sistit uirtus 

Totem est quod superest 
w A stone withowt foyle 
^ A whery man that lookes one way and pulls another 
^ Ostracisme 
^ Mors in 011a poysonings 

Fumos uendere. 



in 



Promus of Formularies* 199 

Folio 8^, front. 
Dec. 5, 1594. 

Promus 
^ Siiauissima vita indies meliorem fierj 

The grace of God is woorth a faire 

Mors in olla F 
^ No wise speech thowgh easy and voluble. 

Notwithstanding his dialogues (of one that giueth 
life to his speach by way of qusestion. T 

He can tell a tale well (of those cowrtly giftes of 
speach w"^ are better in describing then in 
consydering F 

A goode Comediante T (of one that hath good 
grace in his speach 

(To commend Judgments. 
■^ (To comend sense of law) 

y^ (Cunyng in the humors of persons but not in the 
;^ condicons of actions 

Stay a littell that we make an end the sooner. A 
y^ A fooles bolt is soone shott 

His lippes hang in his light. A. T 
y^ Best we lay a straw hear 

A myll post thwitten to a pudding pricke T 
;?^ One swallo maketh no sumer 

L'Astrologia e vera ma 1' astrologuo non sj truoua 
^ Hercules pillers non vltra. T 
^ He had rather haue his will then his wyshe. T 
i^ Well to forgett 

Make much of yourselfe 



200 Promus of Formularies* 

Folio S^, front — continued. 

Wyshing yow all &c and myself occasion to doe 
yow servyce 
y;:^ I shalbe gladd to vnderstand your newes but none 
^ rather then some ouerture whearin I may doe 

^ yow service 

^ Ceremonyes and green rushes are for strangers T 
How doe yow? They haue a better question in 
cheap side w' lak ye 
^ Poore and trew. Not poore therefore not trew T 



Promus of Forma lanes* 201 

J^o/i'o S^, back. 
Tuque Inuidiosa vestustas. T 
Licentia sumus omnes deteriores. T 
Qui dat nivem sicut lanam T 
Lilia agri non laborant neque nent T 
Mors omnia solvit T 
^ A quavering tong. 

like a cuntry man that curseth the almanach. T 

Ecce duo gladij hie. T 

Amajore ad minorem. T 

In circuitu ambulant impij T 

Exijt sermo inter fratres quod discipulus iste non 

moritur T 
Omne majus continet in se mjnus T 
Sme vlla controuersia quod minus est majore 

benedic ... T 
She is light she may be taken in play T 
He may goe by water for he is sure to be well 

landed T 
^ Small matters need sollicitacion great are remem- 

bred of themselues 
The matter goeth so slowly forward that I haue 

almost forgott it my self so as I maruaile not 

if my frendes forgett 
Not like a crabb though like a snaile 
Honest men hardly chaung their name. T 
The matter thowgh it be new (if that be new w'^'^ 

hath been practized in like case thowgh not in 

this particular 
I leaue the reasons to the parties relacions and the 

consyderacion of them to your wysdome 



202 Promus of Formularies* 

Folio 86, front. 

I shall be content my howrs intended for service 
leaue me in liberty 
^ It is in vayne to forbear to renew that greef by 
^ speach w''^ the want of so great a comfort must 

^ needes renew. 

;^ As I did not seeke to wynne your thankes so your 
^ courteous acceptacion deserueth myne 

^ The vale best discouuereth the hill T. 
-^ Sometymes a stander by seeth more than a plaier T, 

The shortest foly is the best. T. 
if^ I desire no secrett newes but the truth of comen 
newes. T. 

Yf the bone be not trew' sett it will neuer be well 
till it be broken. T. 
^ Cheries and newes fall price soonest. T. 

You vse the lawyers fourme of pleading T. 
if^ The difference is not between yow and me but 
^ between your proffite and my trust 

^ All is not in years some what is in howres well 
^ spent. T. 

^ Offer him a booke T 

^ Why hath not God sent yow my mynd or me your 
^ means. 

^ I thinke it my dowble good happ both for the 
^ obteynyng and for the mean. 

^ Shutt the doore for I mean to speak treason T. 

I wysh one as fytt as I am vnfitt 

I doe not onely dwell farre from neighbors but near 
yll neighbors. T 

1 'well' has been struck out 



Promas of Formularies, 203 

Folio 86, frojit — continued. 
y^ As please the paynter T. 

Receperunt mercedem suam. T. 
Secundum fidem vestram fiet vobis 
Ministerium meum honorificabo 



204 Promus of Formularies, 

Folio 86, back. 

Beati mortuj qui moriuntur in domino 

Detractor portat Diabolum in lingua T 

frangimur heu fatis inquit ferimurque procella 

Nunc ipsa vocat res 

Dij meliora pijs erroremque hostibus ilium 

Aliquisque malo fuit vsus in illo 

Vsque adeo latt^t vtilitas 

Et tamen arbitrium qu^rit res ista duorum. 

Vt esse ph^bi dulcius lumen solet 

Jam jam cadentis 
Velle suum cuique est nee voto viuitur vno 
Who so knew what would be dear 
Nead be a marchant but a year. 
Blacke will take no other hew 
He can yll pipe that wantes his vpper lip 
Nota res mala optima 
Balbus balbum rectius intelligit 
L' agua va al mar 
A tyme to gett and a tyme to loose 
Nee dijs nee viribus ^quis 
Vnum pro multis dabitur caput 
Mitte hanc de pectore curam 
Neptunus ventis impleuit vela secundis 
A brayne cutt with facettes T 

T Yow drawe for colors but it prooueth contrarie 
T Qui in paruis non distinguit in magnis labitur. 
Every thing is subtile till it be conceyued 



Promus of Formularies, 205 

Fo/io Sy, front. 

That y'. is forced is not forcible 

More ingenious then naturall 

Quod longe jactum est leviter ferit 

Doe yow know it? Hoc sokim scio quod nihil scio 

I know it? so say many 

Now yow say somewhat.,, euen when yow will; now 

yow begynne to conceyue I begynne to say. 
What doe yow conclude vpon that ? etiam tentas 
All is one.,. Contrariorum eadam est ratio. 
Repeat your reason.,. Bis ac ter pulchra. 
Hear me owt.". you were neuer in. 
Yow iudg before yow vnderstand.,. I iudg as I vn- 

derstand. 
You goe from the matter.,. But it was to folow yow. 
Come to the poynt.,. why I shall not find yow thear 
Yow doe not vnderstand y^ poynt.,. for if I did. 
Let me make an end of my tale.,. That which I 

will say will make an end of it 
Yow take more then is graunted.,. 

you graunt lesse then is prooued 
Yow speak colorably.,. yow may not say truly. 
That is not so by your fauour.,. But by my reason 

it is so 



2o6 Promus of Formularies* 

Folio Sy, back. 
It is so I will warrant yow,^. yow may warrant me 

but I thinke I shall not vowche yow 
Awnswere directly.^, yow mean as you may direct 

me 
Awnswere me shortly.^, yea that yow may coment 

vpon it. 
The cases will come together.,,. It wilbe to fight 

then. 
Audistis quia dictum est antiquis 
Secundum hominem dico 
Et quin' non novit talia? 
Hoc prsetexit nomine culpa 

Et fuit in toto notissima fabula celo 

> 

Quod quidam facit 

Nee nihil neque omnia sunt quae dicit 
Facete nunc demum nata ista est oratio 
Qui mal intend pis respond 
Tum decujt cum sceptra dabas 
En hsec promissa fides est? 

Proteges eos in tabernaculo tuo a contradictione 
linguarum. 

irpiv TO <f>pov€iv KaTa<j>pov€tv CTrioracrai 

Sicut audiuimus sic vidimus 
Credidj propter quod locutus sum. 
Quj erudit derisorem sibj injuriam facit 
Super mjrarj ceperunt philosopharj 



Note. — I'Quin,' this may be 'quis.' 



Promus of Formularies, 207 

Folio 88, front. 

Prudens celat scientiam stultus proclamat stultitiam 

Querit derisor sapientiam nee invenit earn. 

Non recipit stultus verba prudentie nisi ea dixeris 

quse sunt in corde ejus 
Lucerna Dej spiraculum hominis 
Veritatem erne et noli vendere 
Melior claudus in via quam cursor extra viam. 
The glory of God is to conceale a thing and the 

glory of man is to fynd owt a thing. 
Melior est finis orationis quam principium. 
Injtium verborum ejus stultitia et novissimum oris 

illius pura insania 
Verba sapientium sicut aculej et vebut clavj in 

altum defixj. 
Quj potest capere capiat 
Vos adoratis quod nescitis 
V^os nihil scitis 
Quod est Veritas. 
Quod scripsj scripsj 
Nolj dicere rex Jud^orum sed dicens se regem 

Judeorum 
Virj fratres liceat audacter dicere apud vos 
Quod uult seminator hie verborum dicere 



2o8 Promas of Formularies, 

Folio 88, back. 

Multe te litere ad Insaniam redipfunt. 

Sapientiam loquimur inter perfectos 

Et Justificata est sapientia a filijs suis. 

Scientia inflat charitas edificat 

Eadem vobis scribere mihi non pigrum vobis autem 

necessarium 
Hoc autem dico vt nemo vos decipiat in sublimi- 

tate sermonum. 
Omnia probate quod bonum este tenete 
Fidelis sermo 
Semper discentes et nunquam ad scientiam veritatis 

pervenientes 
Proprius ipsorum proph^ta 
Testimonium hoc verum est 
Tantam nubem testium. 
Sit omnis homo velox ad audiendum tardus ad 

loquendum. 
Error novissimus pejor priore, 
Ou^cunque ignorant blasphemant 
Non credimus quia non legimus 
Facile est vt quis Augustinum vincat viderit vtrum 

veritate an clamore. 
Bellum omnium pater 
De nouueau tout est beau 
De saison tout est bon 
Dj danarj di senno et di fede 
Ce ne manca che tu credj 
Di mentira y saqueras verdad 



Promas of Formularies* 



209 



Folio 8g, front. 
Magna Civitas magna solitudo 
light gaines make heuy purses 
He may be in my paternoster indeed 
But sure he shall neuer be in my Creed 
Tanti causas sciat ilia furosis 
What will yow ? 
For the rest 
It is possible 
Not the lesse for that 
Allwaies provyded 
Yf yow stay thear 
for a tyme 
will yow see 
whatshalbe the end. 
Incident 

Yow take it riofht 
All this while 
Whear stay we ? 
That agayne. 
I find that straunge 
Not vnlike 
Yf that be so 
What els 
Nothing lesse 
Yt Cometh to that 
Hear yow faile 
To meet with that 
Bear with that 
And how now 



prima facie, 
more or less. 
It is bycause 
quasi vero 
Best of all 



2IO Promus of Formularies* 

Folio 8g, front — continued. 

Of grace 

as if 

let it not displease yow 

Yow putt me in mynd 

I object, I demaund I distinguish etc. 

A matter not in question 

few woordes need 

much may be said. 

yow haue 

well offred. 

The mean the tyme 

All will not serue 

Yow haue forgott nothing. 

Causa patet 

Tamen quaere. 

Well remembred 

I arreste yow thear 

I cannot thinke that 

Discourse better 

I was thinking of that 

I come to that 

That is iust nothing 

Peraduenture Interrogatory. 

Se then how (for much lesse 



Note. — This folio is written in three columns. The first two are printed 
on page 209, and this page forms the third column. The first line, " Of grace," 
is written opposite the sixth line on page 209, " What will yow ? " 



Promus of Formularies, 2 1 1 

Folio 8g, back. 

Non est apud aram Consultandem. 

Eumenes litter 

Sortj pater ^quus vtrique 

Est quoddam {jic] prodire tenus si non datur vltra. 

Quern si non tenuit magnis tamen excidit ausis 

Conamur tenues grandia 

Tentantem majora fere praesentibus ^quum. 

Da facilem cursum atque audacibus annue ceptis 

Neptunus ventis implevit vela secundis 

Crescent illae crescetis Amores 

Et quae nunc ratio est impetus ante fuit 

Aspice venturo laetentur vt omnia seclo 

In Academijs discunt credere 

Vos adoratis quod ncscitis 

To gyue Awthors thear due as yow gyue Tyme his 

dew w*:^ is to discouuer troth. 
Vos grseci semper pueri 

Non canimus surdis respondent omnia syluae 
populus volt decipi 
Scientiain loqiiimur inter perfectos 
Et Jtistijicata est sapient ia a Jilijs siiis 
Pretiosa in oculis domini mors sanctorum ejus 
Felix qui potuit rerum cognoscere causas. 
Magistratus virum iudicat. 

Da sapienti occasionem et addetur ej sapienta 
Vite me redde prior] 
I had rather know then be knowne 



2 1 2 Promus of Formularies, 

Folio go, front. 

Orpheus in syluis inter Delphinas Arion 

Inopem me copia fecit. 

An instrument in tunyng- 

A yowth sett will neuer be higher. 

like as children doe w'^- their babies when they haue 

plaied enowgh w'^ them they take sport to 

undoe them. 
Faber quisque fortunae suae 
Hinc errores multiplices quod de partibus vitae 

sing-uli deliberant de summa nemo. 
Vtilitas magnos hominesque deosque efficit auxilijs 

quoque fauente suis. 
Qui in agone contendit a multis abstinet 
Quidque cupit sperat suaque ilium oracula fallunt 
Serpens nisi serpentem comederit non fit Draco 
The Athenians holyday. 
Optimi consiliarij mortuj 
Cum tot populis stipatus eat 
In tot populis vix vna fides 
Odere Reges dicta quae dici iubent 
Nolite confidere in principibus 
Et multis vtile bellum. 
Pulchrorum Autumnus pulcher 
Vsque adeone times quern tu facis ipse timendum. 
Dux femina facti 
Res est ingeniosa dare 
A long wynter maketh a full ear. 
Declinat cursus aurumque uolubile tollit 
Romaniscult. 

Vnum augurium optimum tueri patriam 
Bene omnia fecit 



Promus of Formularies, 213 

Folio go, back. 

Et quo quenque modo fugiatque feratque laborem 

edocet. 
Non vlla laborum o virgo nova mi facies inopinave 

surgit ; 

Omnia praecepi atque animo mecum ante peregi. 
Cultus major censii 
Tale of y? frogg that swelled. 
Vderit vtilitas 
Qui eget verseter in turba 
While the legg warmeth the boote harmeth 
Augustus rapide ad locum leniter in loco 
My father was chudd for not being a baron. 
y^ Prowd when I may doe any man good. 
I contemn few men but most thinees. 

o 

A vn matto vno & mezo 

Tantene animis c^lestibus ir^ 

Tela honoris tenerior 

Alter rixatur de lana s^pe caprina 

Propugnat nugis armatus scilicet vt non 

Sit mihi prima fides. 

Nam cur ego amicum offendam in nugis 

A skulter 

We haue not drunke all of one water 

Ilicet obruimur numer[o]. 

Numbring not weighing 

let them haue long mornynges that haue not good 

afternoones 
Cowrt hov/res 
Constancy to remayne in the same state 



2 1 4 Promas of Formularies* 

Folio go, hack — continued. 

The art of forgetting. 
Rather men then maskers. 
Variam dans otium mentem 
Spire lynes. 



Promus of Formularies, 2 1 5 

Folio (ji, front. 

Veruntamen vane conturbatur omnis homo 

Be the day never so long at last it ringeth to even- 
song. 

Vita salilhim. 

Non possumus aliquid contra veritatem sed pro 
veritate. 

Sapie[n]tia quoque perseueravit mecum 

Magnorum fluuiorum navigabiles fontes. 

Dos est vxoria lites 

Haud numine nostro 

Atque animis illabere nostris 

Animos nil magne laiidis egentes 

Magnanimj heroes nati meUoribus annis 

yEuo rarissima nostro 
Simplicitas 

Qui silet est firmiis 

Si nunquam fallit imago 

And I would haue thowght 

Sed fugit interea fugit irreparabile temp[us] 

Totum est quod superest 

In a good beleef 

Possunt quia posse videntur 

justitiamque omnes cupida de mente fugaru [nt] 

Lucrificulus 

Qui bene nugatur ad mensam st^pe vocatur 

faciunt et tedi [um finitum?]^ 

Malum bene conditum ne moveas 

Be it better be it woorse 

Goe yow after him that beareth the purse 

Tranquillo quilibet gubernator 

Nullus emptor difficilis bonum emit opsonium 

Chi semina spine non vada discalzo 

Note.— 1 This is difficult to read. It may be "faciunt et tedia funera." 



2i6 Promus of Formularies* 

Folio gi, back. 

Quoniam Moses ad duritiem cordis permi [sit] vobis 

Non nossem peccatum nisi per legem. 

Discite Justitiam monitj 

Vbj testamentum ibi necesse est mors intercedat 

testatoris 
Scimus quia lex bona est si quis ea vtatur legitime 
Ve vobis Jurisperitj 
Nee me verbosas leges ediscere nee me Ingrato 

voces prostituisse foro. 
fixit leges pretio atque refixit 
Nee ferrea Jura Insanumque forum et populi tabu- 

laria vidit 
Miscueruntque novercse non innoxia verba 
Jurisconsult] domus oraculum Civitatis 

now as ambiguows as oracles. 
Hie clamosi rabiosa for] 
Jurgia vendens improbus 
Iras et verba locat 
In veste varietas sit scissura non sit 
Plenitudo potestatis est plenitudo tempestatis 
Iliacos intra muros peccatur et extra 
Prosperum et felix scelus virtus vocatur 
Da mihi fallere da iustum sanctumque viderj. 
Nil nisi turpe iuuat cur^ est sua cuique voluptas 
Hec quoque ab alterius grata dolore venit 
Casus ne deusne 
fabuleque manes 



Promus of Formularies* 2 1 7 

Folio g2, front. 

Ille Bioneis sermonibus et sale nigro 
Existimamus diuitem omnia scire recte 
Querunt cum qua gente cadant 
Totus mu[n]dus in malingo positus 
O major tandem parcas insane minori 
Reall 

forma dat esse 
Nee fandj fictor Vlisses 

Non tu plus cernis sed plus temerarius audes 
Nee tibj plus cordis sed minus oris inest. 
Invidiam placare paras virtute relicta 

6 TToAAxi KAei/zas oAtya oovk eK(f>f.v^eTaL 

Botrus oppositus Botro eitius matureseit 

Old treacle new losang^es 

Soft fire makes sweet malt. 

Good to be mery and wise 

Seeldome cometh the better. 

He must needes swymme that is held vp by the 

chynne 
He that will sell lawne before he can fold it 
Shall repent him before he haue sold it 
No man loueth his fetters thowgh they be of gold. 
The nearer the church the furder from God 
All is not gold that glisters 
Beggers should be no chuzers 
A beck is as good as a dieu vous gard. 
The rowling stone neuer gathereth mosse 
Better children weep then old men 



2i8 Promus of Formularies* 

Folio g2, back. 

When bale is heckst boote is next 

111 plaieng w*^. short dag. (taunting replie 

He that neuer clymb neuer fell 

The loth stake standeth long. 

Itch and ease can no man please 

To much of one thino- is o-ood for nothine. 

Ever spare and euer bare. 

A catt may looke on a Kyng 

He had need be a wyly mowse should breed in the 

cattes ear. 
Many a man speaketh of Rob. hood that neuer shott 

in his bowe. 
Batchelers wyues and maides children are well 

tauofht 
God sendeth fortune to fooles 
Better are meales many then one to mery 
Many kisse the child for the nurses sake 
When the head akes all the body is the woorse 
When theeues fall owt trew men come to their good 
An yll wynd that bloweth no man to good. 
All this wynd shakes no Corn 
Thear be more waies to the wood then one 
Tymely crookes the Tree that will a good Camocke 

be 
Better is the last smile then thefirst laughter. 
No peny no pater noster. 
Every one for himself and God for vs all 



Promus of Formularies* 219 

Folio gj, front. 

Long standing and small offring 

The catt knowes whose lippes she lickes. 

As good neuer a whitt as neiier the better. 

fluvius quae procul sunt irrigat. 

As far goeth the pilgrymme as the post. 

Cura esse quod audis 

Epya V€wv ySovAai 8e fxea-MV eu^ai oe yepovTwv 

Taurum toilet qui vitulum sustulerit 

Lunse radijs non maturescit Botrus 

Nil profuerit Bulbus ; y*" potado will doe no good. 

Dormientis rete trahit The sleeping mans nett 

draweth. 
ijsdem e Uteris efficitur Tragedia et Comedia 
Tragedies and Comedies are made of one Alphabett. 
Good wyne needes no bush 
Heroum filij noxae 

The sonnes of demy goddes demy men. 
Alia res sceptrum alia plectrum 
fere danides' 

Abore dejecta quivis ligna colligit. 
The hasty bytch whelpes a blind lytter. 
Priscis credendum 

We must beleeue the wytnesses are dead 
Thear is no trusting a woman nor a tapp 



Note. — i This is difficult to read. It may be " fero danid es." 



2 20 Promus of Formularies* 

Folio gj, back. 

Not onely y^ Spring but the Michelmas Spring 

Virj iurejurandi pueri talis fallendj 

Ipsa dies quandoque parens quandoque noverca est 

Vbj non sis qui fueris non esse cur velis viuere. 

Compendiaria res improbitas 

It is in action as it is in wayes; comonly the nearest 

is the fowlest 
Lachrima nil citius arescit 
woorke when God woorkes. 
A shrewd turn comes vnbidden. 
Hirundines sub eodem tecto ne habeas. 
A thorn is gentle when it is yong. 
Aut regem aut fatuum nasci oportet (of a free jester. 
Exigua res est ipsa Justitia 
Quae non posuistj ne tollas 
Dat veniam coruis vexat Censura columbas 
Lapsa lingua verum dicit 
The toung trippes vpon troth 
The evill is best that is lest [best ?] knowen. 
A mercury cannot be made of every wood (bvt 

priapus may 
Princes haue a Cypher 

Anger of all passions beareth the age lest [best?] 
One hand washeth another 
Iron sharpeth against Iron. 



Promus of Formularies, 221 

Fo/io g^, front. 

Eyther bate conceyte or putt to strength 

faciunt et sphaceli Immiinitatem. 

He may be a fidler that cannot be a vioHne 

Milke the staunding Cowe. Why folowe yow the 

flyeng. 
He is the best prophete that telleth the best fortune 
Garhke and beans 
Hke lettize Hke lips 
Mons cum monte non miscetur 
Hilles meet not 

A northen man may speake broad. 
Hasitantia Cantoris Tussis 
No bucking Cator buyeth good achates. 
Spes aht exules. 
Romanus sedendo vincit. 

Yow must sowe w'^. the hand not w'\ the baskett 
Mentiuntur muka cantores (few pleasing speches 

true 
It is no'*" if it be in verse 
Leonis Catulum ne alas 
He cowrtes a fury 

Dij laneos habent pedes (They leaue no prynt. 
The weary ox setteth stronger 
A mans customes are the mowldes whear his fortune 

is cast 



222 Promus of Formularies* 

Folio g4, back. 

Beware of the vinegar of sweet wyne 

Adoraturj sedeant' 

To a foolish people a preest possest 

The packes may be sett right by the way 

It is the Cattes nature and the wenches fault. 

Coene fercula nostre 

Mallem conviuis quam placuisse cocis. 

Al Confessor medico e aduocato 

Non si de tener [tena?J il ver celato 

Assaj ben balla a chi fortuna suona 

A yong Barber and an old phisicion 

Buon vin Cattiua testa dice il orriegfo 

Buon vin fauola lunga 

good watch chazeth yll aduenture 

Campo rotto paga nuoua 

Better be martyr then Confessor 

L' Imbassador no porta pena 

Bella botta non ammazza vecello. 

A tender finger maketh a festred sore 

A catt will neuer drowne if she see the shore. 

Qui a teme [temor?] a lie 

He that telleth tend [tond ?] lyeth is eyther a foole 

himself or he to whome he telles them 
Che posce a [ci ?] Cana pierde piu che guadagna. 



Note. — l^ " Sedcant." This word is doubtful. It may be "tedeant," " te 
deum " is not an impossible reading. 



Promus of Formularies* 223 

/'IV/V? ^5, front. 
Ramo curto vindimi lunga 
Tien I'amico tuo con viso suo. 
Gloria in the end of the salme 
An asses trott and a fyre of strawe dureth not 
Por mucho madrugar no amanece mas ayna 
Erly rising hasteneth not y^ morning. 
Do yra el Buey que no are? 
Mas vale buena quexa que mala paga 
Better good pleint then yll pay 
He that pardons his enemy the amner shall haue 

his goodes 
Chi offendi maj perdona 
He that resolues in hast repentes at leasure 
A dineros pagados brazos quebrados, 
Mas uale bien de lexos que mal de cerca. 
El lobo & la vulpeja son todos d'vna conseja 
No haze poco quien tu mal echa a otro (oster before 
El buen suena, el mal buela. 
At the trest of the yll the lest 
Di mentira y sagueras verdad 
Tell a lye to knowe a treuth 
La oveja mansa mamma su madre y agena 
En fin la soga quiebra por el mas delgado. 
Quien ruyn es en su villa ruyn es en Sevilla 
Quien no da nudo pierde j)unto 
Quien al Ciel cscupe a la cara se le buelve 
Covetousenesse breakes the sacke 
Dos pardales a tua espiga haze mala ligua 



224 Promus of Formularies* 

Folio ^5, back. 

Oulen ha las hechas ha las sospechas. 

La muger que no vera no haze larga tela 

Quien a las hechas ha las sospechas. 

Todos los duelos con pan son buenos. 

El mozo por no saber, y el viejo por no poder dexan 

las cosas pierder. 
La hormiga quandose a de perder nasiente alas 
De los leales se hinchen los huespitales. 
Dos que se conoscan de lexos se saludan. 
Bien ayrna quien mal come. 
Por mejoria mi casa dexaria 
Hombre apercebido medio combatido 
He caries her in one hand and water in the other 
To beat the bush whi e another catches the byrd 
To cast beyond the moone 
His hand is on his halfpeny 
As he brues so he must drinke 
Both badd me God speed but neyther bad me 

wellcome 
To bear two faces in a whood 
To play cold prophett 
To sett vp a candell before the devill 
He thinketh his farthing good syluer 



Promus of Formutanes* 225 

Folio g6, front. 

Let them that be a cold blowe at the cold. 

I haiie seen as farre come as nigh 

The catt would eat fish but she will not wett her 

foote 
Jack would be a gentleman if he could speake french 
Tell your cardes and tell me what yow haue wonne 
Men know how the markett goeth by the markett 

men. 
The keyes hang not all by one mans gyrdell. 
While the grasse growes the horse starueth 
I will hang the bell about the cattes neck. 
He is one of them to whome God bedd heu 
I will take myne altar in myne armes 
for the mooneshyne in the water 
It may ryme but it accords not 
To make a long haruest for a lyttell corn 



2 26 Promus of Formularies* 

Folio g6, back. 

Neyther to heavy nor to hott 

Soft for dashinof 

Thowght is free 

The deuill hath cast a bone to sett strife 

To putt ones hand between the barke and the Tree 

Who meddles in all thinges may shoe the gosling 

Let the catt wynke and lett the mowse runne 

He hath one pointe of a good haiilke he is handy 

The first poynt of a faulkener to hold fast 

Ech finger is a thumb 

Owt of Gods blessing into the warme sune. 

At eve[r]y dogges barke to awake 

A lone day 

My self can tell best where my shoe wringes me 

A cloke for the Rayne 

To leap owt of the frieng pan into the fyre 

Now toe on her distaff then she can spynne 

To byte and whyne 

The world runs on wheeles 

He would haue better bread than can be made of 

whea [t] 
To take hart of grace 



Protnus of Formularies, 227 

Folio gy, front. 

Thear was no more water then the shipp drewe 

A man must tell yow tales and find yow ears 

Haruest ears (of a busy man. 

When thrift is in the feeld he is in the Towne 

That he wynnes in y^ hundreth he louseth in the 

Shyre 
To stumble at a strawe and leap over a bloc 
To stoppe two gappes with one bush 
To doe more than the preest spake of on Sunday 
To throwe the hatchet after the helve 
Yow would be ouer the stile before yow come at it. 
Asinus avis (a foolish conjecture. 
Herculis .Cothurnos aptare infantj 
To putt a childes leg into Hercules buskin 
Jupiter orbus 

Tales of Jupiter dead withowt yssue 
Juxta fluuium puteum fodere 
To dig a well by the Ryuer side 
A ring of Gold on a swynes snowte 
To help the sunne with lantornes 
In ostio formosus (gratiows to shew 
Myosobae flyflappers (offyciows fellowes 
klf.\<^vC,uv. To brother it (fayre speech 
Jactare iugum To shake the yoke 
When It was to salt to wash it with fresh water 

(when speach groweth in bi , . . to fynd taulke 

more gratfuU 



2 28 • Promus of Formularies* 

Folio gy, back. 

Mira de lente 

Quid ad farinas. 

Ouarta luna Natj (Hercules nativity. 

OII9 amicitia. 

Venus font. 

Utraque nutans sententia 

Hasta caduceum 

The two that went to a feast both at dyner and 
supper neyther knowne, the one a tall the other 
a short man and said they would be one 
anothers shadowe. It was replied it fell owt fitt, 
for at noone the short man mowght be the long 
mans shadowe and at night the contrary. 

A sweet dampe (a dislike of moist perfume. 

Wyld tyme on the grownd hath a sent like a 
Cypresse chest. 

Panis lapidosus grytty bread 

Plutoes Helmett; secrecy Invisibility 

Laconismus 

Omnem vocem mittere (from inchantmentes 

Tertium caput ; (of one ouercharged that hath a bur- 
den upon eyther showder and the 3'''^. vpon his 
head. 

Triceps mercurius (great cunyng. 

Creta notare (chaulking and colouring 



Promus of Formularies* 229 

Folio gS, front. 

Vt phldi^ signum (presently allowed 

Jovis sandaliiim ; (Jupiters slipper (a man onely 

esteemed for nearnesse 
Pennas nido majore extendere. 
Hic Rhodiis Hie Saltus (exacting demonstracion. 
Atticus in portum 
Divinum excipio sermonem 
Agamemnonis hostia 
W'^ sailes and owres 
To way ancre. 

To keep strooke (fitt conjunctes 
To myngle heaiien and earth together 
To stirr his curteynes (to raise his wyttes and sprites 

Comovere sacra 
To iiidg the Corne by the strawe 
Domj Conjecturam facere (oiKo^ev ciko^ [eiv] 
To divine with a sive (?) 
Mortuus per somnum vacabis ciiris (of one that 

interpretes all thinges to the best 
Nil sacrj es (Hercules to adonis. 
Plumbeo iugulare gladio (A tame argument 
Locrensis bos (a mean present 
Ollaris Deus. (a man respected for his profession 

withowt woorth in himself 
In foribus Vrceus; an earthen pott in the threshold 
Numerus 



230 Promus of Formularies* 

Folio g8, back. 

To drawe of the dregges 

Lightenyng owt of a payle 

Durt tramped w'^. bloude. 

Ni pater esses 

Vates secum auferat omen. 

In eo ipso stas lapide vbj prseco praedicat. of one that 

is abowt to be bowght and sold. 
Lydus ostium claudit (of one that is gone away w'\ 

his purpose. 
Vtranque paginam facit An auditors booke (of one 

to whome both good and yll is imputed. 
Non navigas noctu (of one that govern [s] himself 

acaso (bycause the starres which were wont to 

be the shipmans direction appear but in the 

night. 
It smelleth of the lampe 
You are in the same shippe 
Between the hamer and the Andville 
Res est in cardine 
Vndarum in vinis 
Lepus pro carnibus (of a man persecuted for profite 

and not for malice 
Corpore effugere 
Nunquid es saul inter prophetas 
A dog in the manger 
OtKovpos (a howsedowe a dedman. 



Promus of Formularies. 231 

Folio gg, front. 

Officere luminibus 

I may be in their light but not in their way. 

Felicibus sunt et timestres Hberj. 

To stumble at the threshold 

Aquilse senectus 

Of the age now they make popes of 

Nil ad Parmenonis suem 

Aquila in nubibus (a thing excellent but remote 

Mox Sciemus melius vate 

In omni fabula et Daedali execratio (of one made a 

party to all complaintes. 
Semper tibj pendeat hamus. 
Res redit ad triarios. 
Tentantes ad trojam pervenere gr^ci 
Cio^nea cantio 
To mowe mosse (vnseasonable taking of vse or 

profite 
Ex tripode 

Ominabitur aliquis te conspecto. 
He came of an ^%^^ 
Leporem comedit 



232 Promus of Fortnalartes* 

Folio gg, back. 

W rav r) cttl rav 

Dormientis rete trahit 

Vita doliaris 

He castes another mans chaunces. 

I neuer liked proceeding vpon Articles before bookes 

nor betrothinges before mariages. 
Lupus circa puteum chorum agit 
The woolue danceth about the welle. 
Spem pretio emere 

Agri-cola semper in nouum annam diues. 
To lean to a staffe of reed 
fuimus Troes. 
Ad vinum disertj. 
To knytt a rope of sand. 
Pedum visa est via 
Panicus casus 
Penelopes webb 

(rKULfJua^eiv 

To striue for an asses shade 
Laborem serere. 
Hylam inclamat. 

6eo[JM)(eiV 

To plowe the wyndes 

Actum agere 

Versuram soluere. To euade by a greater mischeef. 

Bulbos querit (of those that looke downe 

Between the mowth and the morsell 

A Buskin (that will serve both legges 

not an indifferent man but a dowble spye 



Promus of Formularies* 233 

Folio 100, front. 
Chameleon, Proteus, Euripus. 
Mu[l]ta novit uulpes sed Echinus unum magnum 
Semper Africa aliquid monstrj parit 
Ex eodem ore calidum et frigidum. 
Ex se finxit velut araneus 
Laqueus laqueum cepit. 
Hinc ill^ lachrime; Hydrus in dolio 
Dicas tria ex Curia (liberty vpon dispaire 
Argi Collis (a place of robbing. 
Older then Chaos. 
Samiorum Acres 
A bride groomes life 
Samius comatus (of one of no expectacion and great 

proof 
Adonis gardens (thinges of great pleasure but soone 

fading. 
Que sub axillis fiunt. 
In crastinum seria. 
To remooue an old tree 
KvjuaKox^ov (of one that fretteth and vaunteth boldnesse 

to vtter choler. 
To bite the br[i]dle 
Lesbia regula. 
Vnguis in vlcere 
To feed vpon musterd 

In antro trophonij (of one that neuer laugheth 
Arctum annulum ne gestato 



234 Promas of Formularies* 

Ju)iio I GO, back. 

Areopajrita; Scytala. 

Cor ne eclito. 

Cream of Nectar 

Promus ma^is quam Condns. 

He maketh to deep a furrowe 

Charons fares 

Amazonum cantile[n]a; The Amazons song 

(Delicate persons. 
To sow curses. 
To quench fyre with oyle 
Ex ipso boue lora sumere. 
Mala attrahens ad se vt Cesias nubes 
Pryaust^ gaudes gaudium. 
Bellerophontis literal (producing lettres or evidence 

against a mans self 
Puer glaciem. 

To hold a woolf by the ears 
fontibus a])ros, floribus austrum 
Softer then the lippe of the ear 
More tractable then wax 
Aurem vellere. 

UepLTpifJiixa ; frijipOU 

To picke owt the Ravens eyes. 

Centones 

Improbitas musc^ (an importune that wilbe soone 

awnswered but straght in hand agayne 
Argentangina, sylver mumpes 
Lupi ilium videre priores 
Dorica musa. 
To looke a gyven horse in the mowth 



Promus of Formularies* 235 

Folio 1 01, front. 

Vlysses pannos exuit. 

fatis imputandum 

Lychnobij 

Terrae filius 

Hoc jam et vates sciunt 

Whear hartes cast their homes 

few dead byrdes fownd. 

Proiiolvitur ad milvios (a sickly man gladd of the 
spring, 

Amnestia 

Odi memorem compotorem. 

DeUus natator. 

Numeris platonis obscurius 

Dauus sum non Oedipus 

Infixo aculeo fug-ere 

Genuine mordere. 

Ansam quj:trere. 

Ou^ sunt apud inferos sermones. 

Et Scellij fiHum abominor (of him that cannot 
endure the sound of a matter ; from Aristocrates 
ScelHus Sonne, whome a man denoted to a 
democracy said he could not abide for the 
nearnesse of his name to an Aristocracy. 

Water from the handes (such doctrynes as are 
polluted by custome 



236 Promus of Formularies* 

'Folio loi, back. 

famis campus an yll horse kept 

The thredd is sponne now nedes the neadle 

quadratus homo, a Cube. 

fenum habet in Cornu. 

Armed intreaty. 

Omnia secunda saltat senex. 

Mopso Nisa datur 

Dedecus publicum. 

Riper then a mulbery. 

Tanquam de Narthecio 

Satis quercus ; Enowgh of Acornes. 

Haile of perle. 

Intus canere. 

Symonidis Cantilena. 

Viam qui nescit ad mare 

Alter Janus. 

To swyme withowt a barke 

An owles egg. 

Shake another tree 

E terra spectare naufragia 

In diem vivere 

Vno die consenescere. 

TLoppoy 810s T£ K [a] I Kepavvov 

Servire sc^nse. 
Omnium horarum homo 
Spartse servi maxime servi 

Non sum ex istis heriobus (sic) (potentes ad 
nocendum 



Promus of Formularies, 237 

Folio loi, back — continued. 
Scopse dissolute 
Claviim claiio pellere 
Extra querere sese 



23^ Promus of Formularies* 

Folio 102, front, 

Cumjnj sector 
Laconice lunse. 
Coruus aquat, 
Ne incalceatus in montes. 
Domj Milesia 

Sacra hec non aliter constant. 
Gallus insistit 

Leonis vestigia quaeris (ostentation with couardize 
fumos vendere 
Epiphillides. 

Calidum mendacium optimum 
Solus Currens vincit. 
Vulcaneum vinclum. 
Salt to water (whence it came 
Canis seviens in lapidem 
Aratro iacularj. 
Semel rubidus decies pallidus. 
Tanto buon che ual niente 
So good, as he is good for nothing. 
The crowe of the bellfry. 
The vinegar of sweet wyne. 
En vne nuit naist vn champignon. 
He hath more to doe then the ovens in Christmas, 
piu doppio ch' una zevola 
II cuopre vn altare & discuopre 1' altro 
He will hide himself in a mowne medowe 
II se crede segnar & se da de dettj ne gli occhi 
He thinkes to blesse himself and thrustes his fingers 
into his eyes 



Promas of Formularies* 239 

Folio 102, back. 

He is gone like a fay withowt his head 

La sopra scritta e buona 

La pazzia H fa andare ] 

La vergogna li fa restare) 

Mangia santj & caga Diauolj. 

Testa digiuna, barba pasciuta. 

L'asne qui porte le vin et boit I'eau 

lyke an ancher that is euer in the water and will 

neuer learn to swyme 
He doth like the ape that the higher he clymbes the 

more he shews his ars. 
Se no va el otero a Mahoma vaya Mahoma al otero. 
Nadar y nadar y ahogar a la orilla 
llorar duelos agfenos 

Si vos sabes mucho tambien se yo mi salm[o?] 
Por hazer mi miel comieron mj muxcas 
Come suol d'Invierno quien sale tarde y pone presto. 
Lo que con el ojo veo con el dedo lo adeuino 
Hijo no tenemos y nombre lo ponemos. 
Por el buena mesa y mal testamento. 
Era mejor lamiendo que no mordiendo 
Perro del hortelano 

Despues d'yo muerto ni vinna ni huerto 
Perdj mj honor hablando mal y oyendo peor 
Tomar asino que me Ueue y no cauallo que me 

derruque. 



240 Promus of Formularies* 

Folio loj, front. 

So many heades so many wittes 

Happy man happy dole 

In space cometh grace 

Nothing is impossible to a willing hand 

Of two ylles chuze the lest. 

Better to bow then to breake 

Of suffrance cometh ease 

Two eyes are better then one. 

Leaue is light 

Better vnborn then vntaught. 

All is well that endes well 

Of a good begynyng comes a good ending 

Thinges doone cannot be vndoone 

Pride will haue a fall 

Some what is better then nothing 

Better be envyed then pytied 

Every man after his fashon 

He may doe much yll ere he doe much woorse 

We be but where we were 

Vse maketh mastery 

Loue me lyttell love me long. 

They that are bownd must obey 

Foly it is to spurn against the pricke 

Better sitt still then rise and fall. 

Might overcomes right 

No smoke w'^. owt some fire 

Tyme tryeth troth 

Make not to sorowes of one 



Promus of Formularies* 241 

Folio loj, back. 

Thear is no orood accord 

whear euery one would be a lord 

Saieng and doing are two thinges 

Better be happy then wise 

Who can hold that will away 

Allwaies let leasers haue their woordes 

Warned and half armed 

He that hath an yll name is half hanged 

Frenzy Heresy and jalousy are three 

That seeldome or neuer cured be 

That the ey seeth not the hart rueth not 

Better comyng to the ending of a feast then to the 

begynyng of a fray 
Yll putting a swoord in a mad mans hand 
He goes farre that neuer turneth 
Principium dimidium totius 
Quot homines tot sententie 
Suum cujque pulchrum. 
Que supra nos nihil ad nos 

Ama tanquam osurus oderis tanquam amaturus. 
Amicorum omnia communia 
Vultu sepe leditur pietas 
Fortes fortuna adjuuat, 
Omne tulit punctum. 
In magnis et uoluisse sat est 
Difficilia que pulchra. 

Tum tua res agitur paries cum proximus ardet 
Et post malam segctem serendum est 
Omnium rerum vicissitudo 

K 



242 Promus of Formularies, 

Folio loj back — continued. 

In nil sapiendo vita jucundissima 
Parturiunt montes nascetur ridiculus mus 
Dulce bellum inexpertis 
Naturam expellas furca licet vsque recurret. 



Promus of Formularies* 243 

Folio 10^, fivnt. 

Quo semel est imbuta recens servabit odorem 

Bis dat qui cito dat 

Consciencia mille testes 

In vino Veritas 

Bonae legfes ex malis moribus 

Nequicquam sapit qui sibj non sapit 

Summum jus summa injuria 

Sera in fundo parsimonia » 

Optimum non nasci 

Musa mihi causas memora 

Long^ \ 

Ambages sed summa sequar fastigia rerum | 
Causasque innecte morandj 
Incipit effari mediaque in voce resistit 
Sensit enim simulata voce locutam 
quai prima exordia sumat 
Hsec alternantj potior sententia visa est. 
Et inextricabilis error 
Obscuris vera inuolvens. 
Hae tibi erunt artes 

Sic genus amborum scindit se sanguine ab vno. 
Varioque viam sermone leuabat 
Quid causas petis ex alto fiducia cessit 
Quo tibj Diua mej 
Causas nequicquam nectis inanes 

quid me alta silentia cogis 
Rumpere et obductum verbis vulgare dolorem 
Nequicquam patrias tentasti lubricus artes 
Do quod uis et me victusque uolensque remitto 



244 Promus of Formularies* 

Folio 10^, fjvjit — conthtued. 

Sed scelus hoc meritj pondus et in star habet 
Ouaeque prior nobis intulit ipse ferat 
Officium fecere pium sed invtile nobis 
Exiguum sed plus quam nihil illud erit 
Sed lateant vires nee sis in fronte disertus 
Sit tibj credibilis sermo consiietaque verba 
prsesens vt videare loqiii 



Promus of Formularies* 245 

Folio 10^, back. 

Ille referre aliter sepe solebat idem 

Nee iiultu destrue verba tuo 

Nee sua vesanus scripta poeta legat 

Ars casum simulet 

Ouid cum leg-itima fraudatur litera uoce 

Blaesaque fit iusso lingua coacta sono 

Sed quae non prosunt singula multa iuuant. 

Sic parvis componere magna solebam 

Alternis dicetis 

paulo majora canamus 
Non omnes arbusta iuuant 
Et argutos inter strepere anser olores. 
Causando nostros in longum ducis amores 
Nee tibj tarn sapiens quisquam persuadeat autor 
Nee sum animj dubius verbis ea vincere magnum 

quam sit et angustis hunc addere rebus honorem 
Sic placet an melius quis habet suadere 
Quamquam ridentem dicere verum 

quis vetat 
Sed tamen amoto quaeramus seria ludo 
Posthabuj tamen illorum mea seria ludo 
O imitatores seruum pecus 
Quam temere in nobis legem sancimus iniquam. 

mores sensusque repugnant 
Atque ipsa vtilitas justj prope mater et equi 

dummodo visum 
Excutiat sibj non hie cuiquam parcit amico 
Nescio quod meritum nugarum totus in illis 
Num' quid vis occupo 

Note. — ^ "Num " maybe read as "Nunc." 



246 Promus of Formularies, 

Folio 104, back — continued. 

Noris nos inquit doctj sumus 

O te bollane cerebrj 
Felicem aiebam tacitus. 



Promus of Formularies » 247 

Fo/io 10^, front. 

ridiculum acrj 
Fortius et melius magnas plerunque secat res. 
At magnum fecit quod verbis graeca latinis| 
Miscuit 6 serj studiorum ) 

Nil ligat exemplum litem quod lite resoluit 
Nimirum insanus paucis videatur eo quod 
Maxima pars hominum morbo laborat eodem 

Neu si vafer vnus et alter 
Insidiatorem pra^roso fugerit hamo 
Aut spem deponas aut artem illusus omittas 
gaudent prsenomine molles 

auriculae 
Renuis tu quod jubet alter 
Qui variare cupit rem prodigaliter unam. 
Et adhuc sub judice lis est. 
Proijcit ampullas et sesquipedalia verba 
Quid dignum tanto feret hie promissor hiatu 
Atque ita mentitur sic veris falsa remittet 

tantum series juncturaque pollet 
Tantum de medio sumptis accedit honoris 

Ergo fungar vice cotis acutum 
Reddere que possit ferrum exors ipsa secandj 
Haec placuit semel haec decies repetita placebit 
Fas est et ab hoste docerj 

Vsque adeo quod tangit idem est tamen vltima 
Quis furor auditos inquit praeponere visis [distans. 
Pro munere poscimus vsum 
Inde retro redeunt idemque retexitur ordo 
Nil tam bonum est quin male narrando possit 

deprauarier 



248 Promus of Formularies* 

Folio 10^, back. 

Furor arma ministrat 

Pulchrumque morj succurrit in armis 

Aspirat primo fortuna laborj 

Facilis jactura sepulchrj 

Cedamus phoebo et monitj meliora sequamu[r] 

Fata uiam invenient 

Degeneres animos timor arguit 

Viresqiie acquirit eundo 

Et caput inter nubila condit 

Et magnas territat vrbes 

Tarn ficti prauique tenax quam nuntia verj 

Gaudens et pariter facta atque infecta canebat 

Nusquam tuta fides 

Et oblitos famae meliori amantes 

Varium et mutabile semper 

Femina 
Furens quid femina possit 
Quo fata trahunt retrahuntque sequamur 
Quicquid id est superanda est omnis fortun[a]ferendo 
Tu ne cede malis sed contra audentior i[to] 
Hoc opus hie labor est 

Nullj fas casto sceleratum insistere li[men] 
Discite justitiam monitj. 
Quisque suos patimur manes 
Neu patrie validat' in viscera vertite vires 
Verique effeta senectus. 

At patiens operum paruoque assueta iuuen[tus] 
Juno vires animumque ministrat 
Nescia mens hominum fatj sortisque futur[ae] 
Et servare modum rebus sublata secundps] 

Note. — 1 " Validat " may be read " Validas." 



Promus of Formularies* 249 

Fo/io 106, front. 

Spes sibi quisque 
Nee te villus violentia vincat 
Respice res bello varias 

Credidimus lachrimis an et hae simulare docentur 
H9 quoque habent artes quaqiie iubentur eunt 
Ousecunque ex merito spes venit equa venit 
Simplicitas digna fauore fuit 
Exitus acta probat careat successibus opto 
Ouisquis ab euentu facta notanda putet. 
Ars fit vbj a teneris crimen condiscitur annis 
Jupiter esse pium statuit quodcunque iuuaret 
Non honor est sed onus 
Si qua voles apte nubere nube parj 
Perdere posse sat est si quern iuuat ista potestas. 
Terror in his ipso major solet esse periclo 
Quseque timere libet pertimuisse pudet 
An nescis longas regibus esse manus 
Vtilis interdum est ipsis injuria passis 
Fallitur augurio spes bona sepe suo 
Quae fecisse iuuat facta referre pudet 
Consilium prudensque animj sententia jurat 
Et nisi judicij vincula nulla valent 
Sin abeunt studia in mores 
Ilia verecundis lux est prsebenda puellis 

Qua timidus latebras speret habere pudor 
Casta est quam nemo rogauit 
Ouj non vult fierj desidiosus amet 
Gratia pro rebus merito debetur inemptis 
Ouem metuit quisque perisse cupit 



250 Promus of Formularies. 

Folio 106, back, 

A late promus of formularies 
and elegancies 
Synanthr 
Synanthropy 



Folio lo'j, front. 

He that owt leaps his strength standeth not 

He keeps his grownd; Of one that speaketh certenly 

& pertinently 
He lighteth well; of one that concludeth his speach 

well 
Of speaches digressive ; This goeth not to the ende 

of the matter; from the lawyers, 
for learnyng sake. 

Mot. of the mynd explicat in woords implicat in 

thowghts 
I iudg best implicat in thowg. or of trial or mark 

bycause of swiftnes collocat. & differe & to 

make woords sequac. 



Folio loy, back. 
[ Blank ] 



Promus of Formularies* 

Folio 1 08, front. 
Vpon Impatience of Audience 



251 



Verbera sed audi. 
Auribus mederj difficilli- 

mum. 
Noluit Intelliofere vt bene 



aoferet 



The fable of the syrenes 
Placidasque viri deus ob- 
struit aures 



The ey is the gate of the 
affection, but the ear 
of the vnderstanding 

Vpon question to reward evill w"". evill 
NoH aemularj in maHg- Cum perversoperverteris; 



nantibus 
Crowne him w'^ tols (?) 
Nil malo quam illos simi- 
les esse suj et me mej 



lex talionis 
Yow are not for this world 
Tanto buon cheval niente 



Vpon question whether a man should speak or 
forbear speach 

Quia tacuj inveterauerunt Obmutuj et non aperuj os 



ossa mea (speach may 
now & then breed 
smart in y^ flesh ; but 
keeping it in goeth to 
y^ bone. 

Credidi propter quod 
locutus sum. 

Obmutuj et humiliatus 
sum siluj etaim a bonis 
et dolor meus re- 
nouatus est. 



meum quoniam tu fecistj 

It is goddes doing. 

Posuj custodiam Orj 
meo cum consisteret 
peccator aduersum me. 

Ego autem tanquam 
surdus non audiebam et 
tanquam mutus non 
aperiens os suum 



252 Promus of Formularies* 

Folio 108, back. 
Benedictions and maledictions 
Et folium eius non defluet 
Mella fluant illj ferat 

et rubus asper amonium 

Abominacion 
Dij meliora pijs 
Horresco referens 

Folio log, front. 

Per otium To any thing impertinent. 

Speech y' hangeth not together nor is concludent. 

Raw sylk; sand. 
Speech of good & various wayght but not neerely 

applied; A great vessell y' cannot come neer 

land. 
Of one y^ rippeth things vp deepely. He shooteth 

to high a compass to shoote neere. 
Y^. law at Twicknam for mery tales 
Synanthropie 

Folio log, back. 
[ Blank ] 

Folio logc, fj^07it. 
[ Blank ] 

Folio logd, back. 
Synanthropie 



Promus of Formularies. 253 

Folio no, front. 
Play. 
The syn against y"". holy ghost termd in zeal by one 

of y^. fathers 
Cause of Oths ; Ouarells ; expence & vnthriftynes ; 

ydlenes & indisposition of y^ mynd to labors. 
Art of forgetting; cause of society acquaintance 

familiarity in frends ; neere & ready attendance 

in servants ; recreation & putting of melancholy ; 

Putting of malas curas & cupiditates. 
Games of Actiuity & passetyme ; sleight of Act . of 

strength quicknes; quick . of ey hand; legg, the 

whole mocion ; strength of arme ; legge ; Of 

A ctivity of sleigh t. 
Of passetyme onely ; of hazard, of play mixt 
Of hazard; meere hazard Cunnyng in making yo"". 

game ; Of playe : exercise of attention ; 
of memory ; of Dissimulacion ; of discrecion ; 
Of many hands or of receyt ; of few ; of quick 

returne tedious ; of praesent iudgment ; of 

vncerten yssue. 
Seuerall playes or Ideas of play. 
Frank play ; wary play, venturous not venturous 

quick slowe ; 
Oversight Dotage Betts Lookers on Judgment 

groome porter ; Christmas; Invention for hunger 

Oddes ; stake ; sett ; 
He that folowes his losses & giueth soone over at 

wynnings will never gayne by play 
Ludimus incauti studioque aperimur ab ipso 



254 Promus of Formularies* 

Folio no, front — continued. . 

He that playeth not the begynnyng of a game well at 
tick tack & y^. later end at yrish shall never 
Wynne 

Frier Gilbert 

Y^ lott ; earnest in old tyme sport now as musik 
owt of church to chamber 



Folio 1 10, back. 
[ Blank ] 

Folio III. 
[ Blank ] 



Promus of Formularies, 255 

Folio 112, front. 

good morow 

Good swear^ 

Good trauaile 

good hast 

good matens 

good betymes; bonum mane 

bon iouyr. Bon iour; (bridgrome.) 

good day to me & good morow to yow. 

I haue not sayd all my prayers till I haue bid yow 

good morow. 
Late rysing fynding a bedde, 
early risinge, summons to ryse 
Diluculo surofere saluberrimum est. 
Surge puer mane sed noli surgere vane. 
Yow will not rise afore yo*". betters 

(y^ Sonne. 
Por mucho madrugar no amanece mas ayna. 
Qui a bon voisin a bon matin 

(lodged next; 
Stulte quid est somnus gelidae nisi mortis imago 
Longa quiescendi tempora fata dabunt. 
Albada ; golden sleepe. 
early vp & neuer y"" neere. 
The wings of y^ mornyng. 

The yowth & spring of y^. day > 

The Cock; The Larke. 
Cowrt howres. 

Note. — ^" Swear," this may be read "Sweat." 



256 Promus of FormuUnes* 

Folio 112, front — continued. . 

Constant ; abedd when yow are bedd ; & vp when 

yow are vp. 
Trew mens howres. 
Is this your first flight X I doe not as byrds doe for 

I fly owt of my feathers z Is it not a fayre one 
Sweer, fresh of y^ mornyng. 
I pray god your early rysing doe yow no hurt; 

Amen when I vse it. 
I cannot be ydle vp as yow canne. 
Yow could not sleep for your yll lodging; I cannot 

gett owt of my good lodginge. 
Yow have an alarum in your head 
Block heads & clock heads. 
There is Law against lyers a bedde. 
Yow haue no warrant to ly a bedde 
Synce yow are not gott vp turn vp. 
Hott cocckles withowt sands 

god night 
Well to forgett; 

I wish yow may so well sleepe as yow may not fynd 
yor yll lodging. 



Note. — This folio is written in two columns. The second column 
with the line, " I pray god your early rysing." 



Promus of Formularies, 257 

Foiio 112, back. 
[ Blank ] 



Folio 1 1 J, fro7tf. 
[ Blank ] 



Folio iij, back. 
fourmes & elegancyes. 



258 



Promus of Formularies. 



Against con- 
ceyt of diffi- 
culty or im- 
possibility 
vt s[upra] 

Abstinence 
negatiues 

vt s[upra] 



Folio 11^, front. 
Foriu2ilai'ics Prounis 2^ Jan. i^g^. 

!Es. conceytof ;^ 
r^ 1 T^ • Impossibili- ^ 

1 entantes ad 1 rojam peruenere ^-^^^^ ^^^ ^ 
ginations x^ 

graecj atque omnia pertentare \^ j^ -^ 

Ess. indear- ^ 

\ Qui in agone contendit a multis ing generaii- ^ 

/ 1 . ^ ties & prae- ■^ 

\ abstinet. ^epts ^ 

All the Commaundments nega- ^ ! * 

tiue sane two 
Parerga ; mouente sed nil pro- ^^ '^- ^"^ 



^ 



Curious; Busy 
without jug- 
ment good 
direction 
vt s [upra] 
1 Direction 
generaii. 
vt sup[ra] 



extenuating ■^ 

mouentes operosities, nil ad deuises & ^ 

particulars. 

summam. 



ad id. 



Claiidus in via 
I to giue the grownd in bowling. 
Like tempring with phi.sike a ad id 
good diett much better. 

Zeal affection ^Q^,^; ,-,^^c„^ ,•„ ^^ ^„; ^^^ Idea, zeal 






alacrity 

vt s[upra] 
vt s[upra] 

vt s[upra] 
detraction 



Hast 
impatience 



qui me 



mm possum in eo 

confortat * 

Possunt quia posse videntur 
Exposition of Not Overweenning 

but ouerwilling. ad id 

Goddes presse ; Voluntaries ad id 

Chesters wytt to depraue & 

otherwise not wyse 
In actions as in wayes the nearest ind my stay j?^ 

y^. fowlest 



& good affec- ^ 
tion y^ e. ^ 

ad id. 

H. P. s J. ^ 



Notes. — iThe side note " Direction generaii " has been struck out in the MS 
2s. P. s. J. may be read s R s. f. 



Promus of Formularies* 259 

Folio 11^, back. 
[ Blank ] 

Fo/io 11^, front. 
[ Blank ] 

Folio Ji^, back. 

ffrancys Dalle 

fragments of Elegancyes 



26o Promus of Formularies* 

Folio 1 1 6, front. 

^ Quod adulationis nomine dicitur bonum quod 
;^ obtrectationis malum. 

Cujus contrarium majus ; majus aut priuatio cujus 
minus animis. % 
■^ Cujus opus et uirtus majus majus cujus minus minus 
^ quorum cupiditates majores aut meliores, 
^ quorum scientiae aut artes honestiores. 
^ quod uir melior eligeret vt injuriam potius pati 
^ quam facere. 

^ quod manet melius quam quod transit. 
^ quorum quis autor cupit esse bonum, cujus horret 
^ malum. 

^ quod quis amico cupit facere bonum quod inimico 
^ malum. 

y;:^ Diuturniora minus diuturnis 

Conjugata 
^ quod plures eligunt potius quam quod pauciores. 
^ quod corrtrouertentes dicunt bonum perinde ac omnes 

quod scientes et potentes, quod judicantes. 
if^ Quorum praemia majora, majora bona, quorum 
mulctae majores, majora mala. 

Quae confessis et tertijs majoribus majora. 
^ quod ex multis constat magis bonum cum multi 
^ articulj bonj dissectj magnitudinem pr^e se ferunt 

Natiua ascitis. 
^ Qua supra aetatem praeter occasionem aut oportuni- 
;^ tate praeter naturam tocj praeter conditionem 

^ temporis praeter naturam personae vel instru- 

^ menti vel iuuamenti majora quam quae secundum. 



Promus of Formulanes* 261 

Folio 116, hack. 
^ quae in grauiore tempore vtilia vt in morbo senectute 
^ aut aduersis. 

^ Ex duobus medijs quod propinquius est fruj 
^ Quae tempore futuro et vltimo quia sequens tempus 
^ evacuat prseterita 

Antiqua novis noua antiquis 

Consueta nouis noua consuetis 
#?^ quod ad veritatem magis quam ad opinionem Ejus 
if^ 'ante, quae ad opinionem pertinet, ratio est ac 

^ modus, quod quis sj clam fore putaret non 

;?^ eligeret 

^ Polychreston vt diuitiae, robur, potentia, facultates 
^ animj 

# Ex duobus quod tertio equali adjunctum majus ipsa^ 

reddit 

# Quae non latent cum adsunt, quam quae latere 

possunt majora. 
^ quod magis ex necessitate vt oculus vnus lusco 
^ quod expertus facile reliquit 
^ quod quis cogitur facere malum 
^ quod sponte fit bonum 
y;^ quod bono confesso redimitur 



Notes. — l"ante," this may be read "aut^"= "autem. " 2"ipsa" this may 
be read "ipsii" = " ipsum." 



2 62 Promus of Formularies* 

Folio II y, front. 
In deliberatives and electives 



Folio iiy, back. 

Cujus excusatio paratior est vel venia indulta magis 
minus malum. 



Promus of Formularies* 263 

Folio 118, front. 

Melior est oculorum visio quam animj progressio 
i^ Spes in dolio remansit sed non vt antedotum sed vt 
^ major morbus 

Spes omnis in futuram vitam consumendus sufficit 
praesentibus bonis purus sensus. 

Spes vigilantis somnium ; vitse summa breuis spem 
nos uetat inchoare longfam. 
^ Spes facit animos leues timidos in^quales 
^ peregrinantes 

ii^ Vidi ambulantes sub sole cum adolescente secundo 
^ qui consurget post eum. 

^ Imaginationes omnia turbant, timores multiplicant 
;^ voluptates corrumpunt. 

y;:^ Anticipatio timores' salubris ob inventionem remedij 
i:^ spei institit^ 

Imminent futuro, ingrati in prseteritum semper 
adolescentes 

Vitam sua sponte fluxam magis fluxam reddimus 
per continuationes spe 

Praesentia erunt futura non contra 



Notes. — l" Timores" may be read "timoris." ■-' " Institit " = insistit. 



264 Promus of Formularies* 

Folio I iS, back. 
[ Blank ] 

Folio iig, front. 
[ Blank ] 

Folio iig, back. 
[ Blank ] 

Folio 120, front. 

The fallaxes of y*". 3 and y^, assurance of Erophil. 

to fall well euery waye 
Watry impressions, fier elementall fier aethereall. 
Y^ memory of that is past cannot be taken from him. 
All 3 in purchaze nothing in injoyeng. 

Folio 120, back. 
[ Blank ] 

Folio 12 1, front. 
[ Blank ] 

Folio J2I, back. 
[ Blank ] 



Promus of Formutaries* 265 

/''^o/io 122, front. 
■^ Quod inimicis nostris gratiim est ac optabile vt 
^ nobis eveniat malum, quod molestia; et terrorj 

^ est bonum. 

Metuo danaos et dona ferentes 

Hoc Ithacus velit et magno mercentur Atridse. 

Both parties haue wyshed battaile 

The Launching of y^ Imposture by him that 
intended murder. 

ConciHam homines mala, a forein warre to appeas 
parties at home 
^ Quod quis sibj tribuit et sumit bonum, quod in 
y;^ alium transfert malum 

non tam inuidiai impertiendse quam laudis com- 
municandae gratia loquor. 
y;:^ Quod quis facile impertit minus bonum quod quis 
^ paucis et grauatim impertit majus bonum 

Te nunc habet ista secundum. 
^ Quod per ostentationem fertur bonum, quod per 
^ excusationem purgatur malum. 

^ Nescio quid peccati portet hsec purgatio. 
^ Cuj sectse diuersae quae sibj quaeque praestantiam 
^ vendicat secundas tribuit melior singulis 

y^ Secta Academicae quam Epicureus et stoicus sibi 
^ tantum postponit 

^ Neutrality. 



266 Promus of Formularies, 

Rolio 122, back. 

^ Cujus exuperantia vel excellentia melior ejus et 
■^ genus melius. 

Bougeon de mars, enfant de paris. 

Whear they take 

Some thinges of lyttell valew but excellencye 

Some more indifferent and after one sort. 
^ \\\ quo periculosius erratur melius eo in quo erratur 
^ minore cum periculo. 

^ Quod rem integram seruat, melius eo a quo receptus 
^ non est potestatem enim donat potestas autem 

;^ bonum 

The tale of the frogges that were wyshed by one in 
a drowth to repayre to the bottome of a well, 
ay (?) but if water faile thear how shall we gett 
vp agayne 
;^ Quod polychrestum est melius quam quod ad vnum 
y^ refertur ob incertos casus humanos. 

^ Cujus contrarium priuatio malum bonum cujus 
y;:^ bonum malum. 

y^ \vi. quo non est satietas neque nimium melius eo in 
^ quo satietas est 

^ In quo vix erratur melius eo in quo error procliuis 
x?^ Finis melior ijs quae ad finem; 

^ Cujus causa sumptus facti et labores toleratj 
^ bonum; si vt euitetur malum, 

^ Quod habet riuales et de quo homines contendunt 
y^ bonum ; de quo non est contentio malum. 

Differ, inter fruj et acquirere. 



Promus of Formularies. 267 

Foilo I2J, front. 

^ Quod laudatur et praedicatur bonum quod occultatur 
^ et uituperatur malum. 

^ Quod etiam inimicj et maleuoli laudant valde bonum, 
^ quod etiam amicj reprehendunt magnum malum. 

Quod consulto et per meliora judicia proponitur 
majus bonum. 
^ Quod sine mixtura malj melius qiiam quod refractum 
^ et non syncerum. 

Possibile et facile bonum quod sine labore et paruo 

tempore cont[ra] malum 
Bona confessa jucundum sensu ; comparatione. 
Honor; voluptas; 
Vita 

bona ualetudo 
suauia objecta sensuum ; 
Inducunt tranquillum sensum virtutes ob securitatem 
et contemptum rerum humanarum; facultates 
animj et rerum gerendarum ob spem et metum 
subigendum ; et diuiti . . . 
Ex aliena opinione; laus. 

Quee propria sunt et minus communicata; ob honor, 
quae continent, vt animalia vt plantae et amplius; 

sed id amplius potest esse malj. 
Congruentia, ob raritatem et genium et proprietatem 

vt in familijs et professionibus 
Quae sibj deesse quis putat licet sint cxigua 



268 Promus of Formularies* 

Folio I2J, back. 

ad quae natura procliues sunt 

quse nemo abjectus capax est vt faciat 

Majus et continens minore et contento 

Ipsum quod suj causa eligitur 

quod omnia appetunt. 

quod prudentiam adepti eligunt 

quod efficiendi et custodiendj vim habet. 

Cuj res bonse sunt consequentes. 

maximum maximo ipsum ipsis ; vnde exuperant . . . 

quse majoris bonj conficientia sunt ea majora sunt 

bona, 
quod propter se expetendum eo quod propter alios 

Fall, in diuersis generibus et proportionibus 
Finis non finis 
Minus indigens eo quod magis indiget quod 

paucioribus et facilioribus indiget 
quoties ho {sic) sine illo fierj no (sic) potest, illud 

sine hoc fierj potest illud melius 
principium non principio; finis autem et principium 

antitheta; non majus videtur principium quia 

primum est in opere; contra finis quia primum 

in mente; de perpetratore et consiliario. 
Rarum copiosis honores; mutton venison 
Copiosum varit vsu: optimum aqua 
difficiliora, facilioribus 
faciliora, difficilioribus 



Promus of Formularies. 269 

Fo/i'o 124, fi'ont. 

Quod magis a necessitate vt oculus vnus lusco. 
Major videtur gradus priuationis quam diminutionis 
Quae non latent cum adsunt majora quam que 

latere possunt. 
Quod expertus facile reliquit malum, quod mordicus 

tenet bonum. 
In aliquibus manetur quia non datur regressus 
Quae in grauiore tempore vtilia vt in morbo 

senectute aduersis. 
The soldier like a coreselett; bellaria, et appetitiua, 

redd hearing. Loue 
Quod controuertentes dicunt bonum perinde ac 

omnes. 

Sermon frequented by papists and puritans; 

Matter of circumstance not of substance 

boriae penetrabile frigus adurit 

Cacus oxen forwards and backwards 

Not examyning. 

Folio 124, back. 
[ Blank ] 

Folio 12^, fro)it. 
[ Blank ] 

Folio 12^, back. 
[ Blank ] 



270 



Promus of Formularies* 



Folio 126, frojit. 

Analogia Ccssaris 

Verb, et clausulae ad 

exercitationem accentus 

et ad gratiam sparsam 

et ad suitatem 



Say that ; (for admitt that) 
Peraventure can yow : sp. 

(what can yow) 
So much there is. fr. (neuer- 

thelesse) 
See then how, Sp. (Much 

lesse) 
Yf yow be at leasure | fur- 

nyshed etc, as perhappes 

yow are (in stead of are 

not) 

For the rest (a transition 

concluding) 
The rather bycause (con- 

tynuing anothers speach 
To the end, sauing that, 

whereas yet (contynu- 

ance and so of all kynds 
In contemplation (in con- 

sideracon) 
Not praejudicing. 
With this (cum hoc quod 

verificare vult) 
Without that (absque hoc 

quod 



It is like S"". etc. (putting 
a man agayne into his 
tale interrupted 

Your reason 

1 haue been allwaies at 
his request ; 

His knowledg lieth about 

him 
Such thouofhts I would 

exile into into my 

dreames 
A good crosse poynt but 

the woorst cinq a pase 

He will never doe his tricks 

clean. 
A proper young man and 

so will he be while he hues 

2 of these fowre take them 
where yow will 

I have knowne the tyme 
and it was not half an 
howre agoe 

Pyonner in the myne of 
truth 



Promus of Formularies. 271 

Folio 126, front — coutiinicd. 

for this tyme (when a man As please the painter 

extends his hope or imag- A nosce teipsiim (a chiding 

jnacion or beleefe to farre or disgrace 

A mery world when such Valew me not y^ lesse by- 

fellowes must correct cause I am yours. 
(A mery world when the 
simplest may correct. 

Is it a small thing y' & (can- 
not yow not be content 
an hebraisme 

What els ? Nothing lesse. 
It is not the first vntruth I 

have heard reported nor 

it is not y*" first truth I 

haue heard denied. 
I will prooue x 

why goe and prooue it 
Minerall wytts strong poyson 

yf they be not corrected. 
O the' 

my 1. S'. 
Beleeue it 
Beleeue it not; 
for a time 

Mought it pleas god that 

fr (I would to god Neuer 

may it please yow 
As orood as the best: 

1 would not but yow had 
doone it (But shall I doe 
it againe 



Note. — This folio is written in three columns. The third column begins, 
" It is a small thing. " 



272 Promus of Formularies. 

Folio 126, back. 

The Sonne of some what y^ ayre of his behauiour; 

Sp factious; 

To frime (to Sp' 
To cherish or endear; 
To vndeceyue. Sp to dis- 
abuse 
dehuer and vnwrapped 
To discount (To Cleere) 
Brazed (impudent 
Brawned Seared) vn- 

payned. 
VueHght (Twyhght) band- 
ing (factions. 
Remoouing (remuant) 
A third person (a broker 
A nose Cutt of; tucked vp. 
His disease hath certen 

traces) 
To plaine him on 
Ameled (fayned counterfett 

in ye best kynd 
Having (?) the vpper 

grownd (Awthority 
His resorts (his Conceyts 
It may be well last for it 

hath lasted well 
Those are great with yow 

y' are great by yow 

Note. — 1 " To frime (to Sp," this line may read, " To frime (to Suse Sp." 



Promus of Formularies, 273 



Folio 126, back — continued. 

The Avenues ; A back 

thought. 
Baragan; perpetuo Juuenis 
A Bonance (a Caulme 
To drench to potion (to 

insert 
Haggard insauvaged 
Infistuled (made hollow 

with malign deales. 



Folio 12'/, front. 
[ Blank ] 



Folio 12/, back. 
Cursitours lament and cry 
'Verba interjectiua sine ad 

gratiam sparsam 

\} This is an endorsement across the page.] 



2 74 Promus of Formutaries, 

Folio 128, front. 

Semblances or popularities of good and evill w'\ 

their redargutions. for Deliberacions 
Cujus contrarium malum bonum, cujus bonum 

malum. 
Non tenet in ijs rebus quarum vis in temperamento 

et mensura sita est. 
Dum vitant stulti vitia in contraria currunt 
X Media via nulla est quae nee amicos parit nee inimi- 

cos tollit 
Solons law that in states every man should declare 

him self of one faction. Neutralitye : 
Vtinam esses calidus aut frigidus sed quoniam tepidus 

es eveniet vt te expuam ex ore meo. 
Dixerunt fatui medium tenuere beatj 
Cujus origo occasio bona, bonum ; cujus mala malum. 
Non tenet in ijs malis quae vel mentem informant, 

vel affectum corrigunt, sine resipiscentiam in- 

ducendo sine necessitatem, nee etiam in fortuitis. 
No man gathereth grapes of thornes nor figges of 

thistelles 
The nature of every thing is best consydered in the 

seed 
Primum mobile turnes about all y^. rest of y^ Orbes. 
A good or yll foundacion. 
X Ex malis moribus bonae leges. 

TraOrj/JiaTa iMidrj/JuiTa. 

When thinges are at the periode of yll they turn 
agayne 



Promus of Formularies* 275 

Folio 128, front — continued. 

Many effectes like the serpent that deuoureth her 
moother so they destroy their first cause as 
inopia kixuria etc. 

The fashion of D. Hert. to the dames of Lond. Your 
way is to be sicker 

Usque adeo latet vtihtas 

AHquisque malo fuit vsus in illo 



Folio 12S, back. 

Quod ad bonum finem dirigitur bonum, quod ad 
mulum malum 



Folio I2g, front. 
[ Blank ] 



Folio I2Q, back. 

Philologia 
colors of good and euill 



'2']^ Promus of Formularies* 

Folio I JO, front. 

Some choice Frensh Proverbes. 

II a chie en son chapeau et puis s'en va convert 

Par trop debatre la verite se perd. 

Apres besogne fait le fou barguine. 

L'hoste et le poisson passes trois jours puent. 

Le mort n'ha point d'amis, Le malade et I'absent 

qu'vn demye. 
II est tost trompe qui mal ne pense. 
La farine du diable s'en va moitie en son. 
Qui prest a I'ami, perd au double. 
C'est vn valett du diable, qui fait plus qu'on luy 

command. 
II n'est horologe plus iust que le ventre. 
Mere pitieuse, fille rigueuse 

II commence bien a mourrir qui abandonne son desir. 
Chien qui abaye de loin ne mord pas. 
Achete maison faite, femme a faire 
Le riche disne quand il veut, le poure quand il pent. 
Bien part de sa place qui son amy y lesse. 
II n'y a melieur mirroir que le vieil amy. 
Amour fait beaucoup, mais I'argent fait tout. 
L'amour la tousse et la galle ne se peuvent celer. 
Amour fait rage, mais I'argent fait marriage. 
Ma chemise blanche, baise mon cul tons les 

dimanches. 
Mieux vaut vn tenes, que deux fois I'aurez. 
Craindre ce qu'on pent vaincre, est vn bas courage. 
A folle demande il ne faut point de responce. 



Promus of Formutaries, 277 

Folio I JO, front — contimicd. 

Qui manie ses propres affaires, ne souille point se 

mains. 
Argent receu les bras rompus, 
Vn amoreux fait touiours quelque chose folastre. 
Le povre qui donne au riche demande 
Six heures dort I'escholier, sept y^ voyager, hiiict y= 

vigneron, et neiif en demand le poltron. 
La guerre fait les larrons et la paix les meine au 

gibbett 
Au prester couzin germaine, au rendre fils de putaine 
Qui n'ha point du miel en sa cruche, qu'il en aye en 

sa bouche. 
Langage de Hants bonnetts. 
Les paroles du soir ne sembles a celles du matin. 
Qui a bon voisin a bon matin. 
Estre en la paille jusque au ventre. 
II faut prendre le temps comme il est, et les gens 

comme ils sont, 
II n'est Tresor que de vivre a son aise. 
La langue n'a point d'os, et casse poitrine et dos. 
Quand la fille pese vn auque, ou luy pent mettre 

la coque. 
II en tuera dix de la chandelle, et vingt du chandelier. 



278 Promus of Formularies. 

Folio I JO, back. 

Qui seme de Chardons recuielle des espines 

II n'est chasse que de vieux levriers. 

Qui trop se haste en beau chemin se fourvoye. 

II ne choisit pas qui emprunt. 

Ostez vn vilain au gibett, il vous y mettra. 

Son habit feroit peur au voleur. 

J'employerai verd et sec. 

Tost attrappe est le souris, qui n'a pour tout qu'vn 

pertuis. 
Le froid est si apre, qu'il me fait battre le tambour 

avec les dents. 
Homme de deux visages, n'aggree en ville ny en 

villages. 
Perdre la volee pour le bound. 
Homme roux et femme barbue de cinquante pas 

les saliie. 
Quand beau vient sur beau il perd sa beaute, 
Les biens de la fortune passe comme la lune. 
Ville qui parle, femme qui escoute, I'vne se prend, 

lautre se foute. 
Coudre le peau du renard, a celle du lyon. 
II a la conscience large comme la manche d'vn 

cordelier. 
Brusler la chandelle par les deux bouts. 
Bon bastard c'est d'avanture, meschant c'est la 

nature. 
Argent content portent medecine. 
Bonne renommee vaut plus que cincture doree. 



Promus of Formularies* 279 

Folio I JO, back — coniiniicd. 

Fille qui prend, se vend ; fille qui donne s'abban- 

donne. 
Fais ce que tu dois, avien que pourra. 
II est tost deceu qui mal ne pense. 
Vos finesses sont cousiies de fil blanc, elles sont trop 

apparentes. 
Assez demand qui se plaint. 
Assez demand qui bien sert. 
II ne demeure pas trop qui vient a la fin. 
Secrett de dieux, secrett de dieux 
Ton fils repeu et mal vestu, ta fille vestue et mal 

repue. 
Du dire au fait il y a vn grand trait. 
Courtesye tardive est discourtesye. 
Femme se plaint, femme se deult, femme est 

malade quand elle veut — 
Et par Madame S'^ Marie, quand elle veut, elle est 

guerrye. 
Ouie est loin du plat, est prez de son dommage. 
Le Diable estoit alors en son grammaire. 
II a vn quartier de la lune en sa teste. 
Homme de paille vaut vne femme d'or. 
Amour de femme, feu d'estoupe. 
Fille brunette gaye et nette 
Renard qui dort la mattinee, n'a pas la langue 

emplumee. 



28o Promus of Formularies* 

Folio iji, front. 

Tout est perdu qu'on donne au fol. 

Bonnes paroles n'escorche pas la langue. 

Pour durer il faut endurer 

Qui veut prendre vn oiseau, qu'il ne I'effarouche. 

Soleil qui luise au matin, femmc qui parle latin, 

enfant nourri du vin ne vient point a bonne fin. 
II peut hardiment heurter a la porte, qui bonnes 

novelles apporte. 
A bon entendeur ne faut que demy mot. 
Qui fol envoye fol attend. 
La faim chaisse le loup hors du bois. 
Qui peu se prize, Dieu I'advise. 
En pont, en planche, en riviere, valett devant, 

maistre arriere. 
L'oeil du maistre engraisse le chevall. 
Qui mal entend, mal respond. 
Mai pense qui ne repense. 
Mal fait qui ne pairfait. 
Si tons les fols portoient marrottes, on ne sgauroit 

pas de quell bois se chaufer 
Mieux vaut en paix vn oeuf, qu'en guerre vn boeuf. 
Couper I'herbe sous les pieds. 
Toutes les heures ne sont pas meures. 
Qui vit a compte, vit a honte. 
Meschante parole jettee, va par toute alia vol^e. 
Amour se nourrit de ieune chaire 
Innocence porte avec soy sa deffence. 
II ne regard plus loin que le bout de son nez. 
A paroles lourdes, aureilles sourdes. 



Promus of Formularies* 281 

Folio iji, front — continued. 

Ce n'est pas Evangile, qu'on dit parmi la ville. 

Qui n'a patience n'a rien. 

De maiivais payeiir, foin ou paille 

En fin les renards se troue chez le pelletier. 

Qui prest a I'ami perd au double 

Chantez a I'asne il vous fera de petz 

Mieux vault glisser du pied, que de la langue. 

Tout vient a point a chi pent attendre. 

II n'est pas si fol qu'il en porte I'habit. 

II est plus fol, qui a fol sens demand. 

Nul n'a trop de sens, n'y d'argent. 

En seurte dort qui n'a que perdre. 

Le trou trop overt sous le nez fait porter Soulier 

dechirez. 
A laver la teste d'vn Asne, on ne perd que le temps 

et la lexive. 
Chi choppe et ne tombe pas adiouste a ces pas. 



282 Promus of Formularies, 

Folio iji, back. 

Amour, toux et fumee, en secrett ne sont demeuree. 

II a pour chaque trou vne cheville. 

II n'est vie que d'estre content. 

Si tu veux cognoistre villain, bailie luy la baggette 

en main. 
Le boeuf sale, fait trover le vin sans chandelle. 
Le sage va toujours la sonde a la main. 
Qui se couche avec les chiens, se leve avec de puces. 
A tons oiseaux leur nids sont beaux 
Ovraee de commune, ovrao^e de nul. 
Oy, voi, et te tais, si tu veux vivre en paix. 
Rouge visage et grosse panche, ne sont signes de 

penitence. 
A celuy qui a son paste au four, on peut donner de 

son tourteau. 
Au serviteur le morceau d'honneur. 
Pierre qui se remiie n'accuille point de mousse 
Necessite fait trotter la vieille. 
Nourriture passe nature. 
La mort n'espargne ny Roy ny Roc. 
En mangeant 1' appetit vient. 
Table sans sel, bouche sans salive 
Les maladyes vient a cheval, et s'en returne a pieds. 
Tenez chauds le pied et la teste, au demeurant 

vivez en beste. 
Faillir est vne chose humaine, se repentir divine, 

perseverer diabolique. 
Fourmage est sain qui vient de ciche main. 



Promus of Formularies* 283 

Folio iji, back — continued. 

Si tu veux engraisser promptement, mangez avec 

faim, bois a loisir et lentement. 
A Tail soixante et douse, temps est qii'on se house. 
Vin sur laict c'est souhait, lait sur viii c'est venin 
Faim fait disner passetemps souper. 
Le maux terminans en ique, font au medecine la 

nique. 
Au morceau restiffe esperon de vin. 
Vn oeuf n'est rien, deux font g-rand bien, trois c'est 

assez, quattre c'est fort, cinque c'est la mort." 
Apres les poire le vin ou le prestre 
Qui a la sante est riche et ne le scait pas. 
A la trogne on cognoist I'yvrogne. 
Le fouriere de la lune a marque le logis. 
Vne pillule fromentine, vne dragme sermentine, et la 

balbe' d'vne galline est vne bonne medecine. 
II faut plus tost prendre garde avec qui tu bois et 

mange, qu'a ce que tu bois et mange. 
Qui tout mange le soir, le lendemain rogne son pain 

noir 
Vin vieux, amy vieux, et or vieux sont amez en 

tons lieux. 



Note. — i "balbe" may be read "balle." 



284 Promus of Formularies* 

Folio IJ2, front. 

Qui veut vivre sain, disne pen et soupe moins. 
Lever a six, manger a dix, souper a six, coucher a 

dix, font Thomme vivre dix fois dix. 
De tous poissons fors que la tenche, prenez les dos, 

lessez le ventre. 
Qui couche avec la soif, se leve avec la sante. 
Amour de garze et saut de chien, ne dure si Ton ne 

dit tien. 
II en est plus assotte qu'vn fol de sa marotte. 
Qui fol envoye fol attende. 
Pennache de boeuf. 
Vn Espagnol sans Jesuite est comme perdis sans 

orange. 
C'est la maison de Robin de la vallee, ou il y a ny 

pott au feu, ny escuelle lavee. 
Celuy gouverne bien mal le miel qui n'en taste. 
Auiourdhuy facteur, demaine fracteur. 
II est crotte en Archidiacre. 
Apres trois jours on s'ennuy, de femme, d'hoste, et 

de pluye. 
II n'est pas eschappe qui son lien traine. 
En la terre des aveugles, le borgne est Roy. 
II faut que la faim soit bien grande, quand les 

loups mange I'vn I'autre. 
II n'est' faut qu'vne mouche luy passe, par devant le 

nez, pour le facher. 
La femme est bien malade, quand elle ne se pent 

tenir sur le dos. 

Note. — Fori " n n'est faut " may be read " II n'en faut." 



Promus of Formularies, 285 

Folio IJ2, front — coritinued. 
II n'a pas bien assise ses lunettes. 
Cette flesche n'est pas sorti de son carquois. 
L'affaire vas a qiiattre roiies 
Merchand d'allumettes 
C'est vn marchand qui prend I'argent sans conter 

ou peser. 
Je vous payeray en monnoye de cordelier. 
Vous avez mis le doit dessus. 
S'embarquer sans bisquit. 
Coucher a I'enseigne de I'estoile 
On n'y trove ny trie ny troc. 
Cecy n'est pas de mon gibier. 
Joyeux comme sourris en graine 
II a beaucoup de grillons en la teste. 
Elle a son Cardinall 
II est fourni du fil et d'esguille. 
Chevalier de Corneuaille. 
Angleterre le Paradis de femmes, le pourgatoire de 

valetts, I'enfer de chevaux. 
Le mal An entre en nageant. 
Qui a la fievre au Mois de May, le rest de I'an vit 

sain et gay. 
Fol a vint cinque carrattes 

Celuy a bon gage du Chatte qui en tient la peau. 
II entend autant comme truye en espices 
Nul soulas humaine sans helas 
In {sic) n'est pas en seurete qui ne mescheut onques. 



286 Promus of Formularies* 

Folio I J J, front. 
[ Blank ] 



Folio 7JJ, back. 
Some choice Frensh Prover[bs.] 




From 
Spenser's "Faerie Queen," 1617. 




C 49 89 li 












* AT r>. • 



0^ '^ 'O.K* A 




<^ ♦'TV.' .0^ ^:^ ' 









%. .,*^/^s^-.\. ./.-;%>•;•.%. .*^\^;^*-.V 














• %<,'' 






• no 










•~ .r 



.^ ^<^ ^^i^/ j^^^'^^.. ^WMW: .r^-^. -. 



5? s 














.<^ "*. 









•^^ cO" 














A^ 6 • • 








.0^ .♦ 





CKMAN 

>ERY INC 



JAN 89 

N. MANCHESTER, 
INDIANA 46962 



t ^.^'^ .*»'• %/ y^^^'- **■ 




